Although she has now relocated to California, the Chicago flautist still retains ties to the Windy City and this latest offering features some of the city’s outstanding players. Mitchell’s new group is bound to draw comparisons with the classic 1960s combination of Eric Dolphy and Bobby Hutcherson for the presence of the excellent vibraphonist Jason Adasiewicz, but another relevant, more contemporary reference is James Newton’s bands with Jay Hoggard back in the 1980s. As with the aforementioned, Mitchell ploughs a rewarding furrow of harmonically inventive writing and arranging with a lot of the material tipping into a kind of controlled dissonance that suggests a chamber ensemble with maverick inclinations. Swish latin rhythms surface time and again to lend the session an elegantly dancing flavour, but the real interest lies in the gorgeous timbral combination of flute and vibraphone, which is akin to wind chimes wrapped in birdsong. Mitchell is a wholly versatile musician who can play with enormous lyricism but she is also highly effective when delivering short, pithy motifs over a rubato arrangement, which, on a number of tracks, highlights the stark aggression as well as ethereal tenderness that her instrument can produce. Several tracks use a daring amount of space, and the shadowy reverb that glazes over all the instruments on ‘Adaptability’ takes the band into a startling sound world that suggests a Lee Perry-style dub session taking place under the hallowed dome of the Taj Mahal.