Veteran bassist Guy and percussionist Hemingway are more accustomed to acting in an improvising manner, but this trio with the young Japanese pianist Kimura (she now lives in Dublin) invites them towards a jazzier, composed world. Indeed, Hemingway opens the concentrated depth with what amounts to a four-part suite, a changeling work of many moods and densities.

‘The Unexpected’ merges a tranquil surface with the sharp strikes of Kimura’s piano, Guy making his bass sound akin to a shakuhachi flute, the sections working into fullness with a piano theme, drumkit splashes and a firm bassline. Amounts of density change, as if being decanted from one laboratory flask to another. Grace and spikes survive independently, tying a taut relationship together. Kimura’s ‘Cloud Echoes’ possesses more of a jazz structure, piano cascading beside singing basslines, soloing on the run. There’s an extreme sparseness and reflection to Guy’s ‘Gnomon’, tastefully poised with pointillist bass soloing. It develops a clockwork progression, with handfuls of piano trinkles, as Hemingway twitches with control, once again ending up with a frenetic conclusion. It’s such contrast between calm and unrest that makes this session so fine.