Master Oogway conjure a sense of imagined community in the moment with this live album, reinforced by Rune Grammofon design kingpin Kim Hiorthøy’s sleeve art, portraying the titular village idyll. Taped during an autumn monthly residency on the night Henriette Eilertsen sat in, her flute’s vaporous tendril curls through the opening seconds of ‘Heading Home’, inevitably suggesting spiritual jazz, but proving part of something wilder and rougher.

This is Master Oogway’s third album, with bassist Karl Erik Horndalsveen displacing guitarist Håvard Nordberg Funderud as main songwriter on this occasion. It’s Horndalsveen who solidifies a swirl of percussion into an incrementally intensifying vortex as ‘Heading Home’ progresses, before Eilertsen’s dervish whirl gathers Master Oogway in her slipstream; then she darts and floats, bird-like, bonds with Lauritz Heitmann Skeidsvoll’s sax, and the band’s soft glide to earth finishes with her butterfly flutter. The sense of something almost inchoate rising and falling, splintering then recohering, even as Horndalsveen’s propulsive pulse and melodies keep a gravitational hold on the band’s disparate parts, characterises this gripping night. ‘Happy Village’ sees Skeidsvoll’s garrulous, rasping tone carve the tune out as the band fill a spacious, widescreen canvas. A sense of woozy Americana grows on ‘Speech’ – the political convention or maybe wedding sort, such is its gaudy, bawdy quality, as the band stagger their separate ways, woozily collapsing into the guitar’s quiet rumble of strings. ‘Whispering Townsfolk’ defines the project, as this sometimes wayward gathering rises again, and Funderud’s grittily grained solo is shadowed by bass and shaped by the sax’s counterpoint. Eilertsen’s flute is an intrinsic, ensemble sound by this point, as Master Oogway make a night of focused adventure’s final exploratory, spiky patrols.