Consider this the sequel to last year’s Yes Tomorrow by saxophonist Paul Dunmall’s young Birmingham-based quintet, with that core unit augmented by trumpeter Charlotte Keefe, veteran vocalist Julie Tippetts and Discus label-boss Martin Archer.

Like the previous date, the focus is on combining tightly composed hooks with free-range improvisations, but the overall vibe is more expansive and less reined in – as evidenced in the album’s book-ending first and last tracks, both pushing 20 minutes.

In fact, with Tippetts on board, there’s more than a hint of Septober Energy, the 1971 classic of joyful excess by her late husband Keith’s monstrous, 50-piece Centipede ensemble, on which she also appeared. Grand themes give way to deeply swinging vamps and spacious vistas dotted with gnarled thickets of improv and, throughout it all, Tippetts delivers a bravura performance, switching from strident blues holler to twitchy peeps and trills.

As well as being one of the biggest presences in UK avant-jazz, Dunmall has made strong trans-Atlantic connections, performing at New York’s storied Vision Festival with US free-jazz heavyweights including Henry Grimes and Matthew Shipp – and it’s certainly possible to hear echoes of that spiritually-loaded milieu here. Dunmall is, without doubt, one of the deepest we’ve got.