A sometime pianist for silent-cinema by night, Morley swiftly followed 2017's solo piano debut Through the Hours by forming a trio with British bassist Richard Sadler and Italian drummer Emiliano Caroselli. These twin breakthroughs reflected the initially classically-trained Australian's growing jazz confidence, and the trio add full-bodied brio to the slightly pensive ebullience of her playing, where the halting hush of ‘Folk Hymn’ and whispered, reflective ‘D.C.M.’ temper essentially extrovert optimism. Her intimacy with improvising to both cinema and dance's dramatic shapes is reflected when the initially contented, classical ripples of ‘Caged’ pick up urgent speed before an epic, prison bar breakout of a climax. Polite honkytonk is her least convincing mode, but an important element in her listener-friendly fondness for invitingly sunny melodies. Sadler and Caroselli offer unobtrusive support, with the bassist's penchant for melodic quests and the drummer's textural subtlety adding their own pleasures.