Commenting on this new release, Ubuntu’s Martin Hummel says he was only recently introduced to Lloyd’s music. Me, too. Hummel adds: “‘Jon may walk softly, but he delivers an arresting sound.” And it is that ethereal, keening tenor sound that first strikes the listener, these pieces defined by Lloyd’s almost skeletal expositions, the emotion palpable, the spaces between phrases sometimes left bare, at others filled by Law’s distinctive variations. He came to prominence in the 1990s on the free scene and has since moved around stylistically to a point where he sees his music as reflecting the 'European Jazz Aesthetic'.

That said, it is in its immediate impact that one seeks to judge this deeply personal music. Nine pieces are by Lloyd, the tenth ‘The Trip’ is an improvisation, the titles hinting at contemporary concerns, hence the album’s main heading. The interplay between the quartet members is often quite magical, instinctive, with no awkward elisions or contrary motions, the overall effect restrained but always engaging, There’s no rough stuff here for the club crowd, rather a refined series of statements, with Law, a frequent associate of Lloyd’s, adding and aiding brilliantly.

Rather than differentiate between one piece and another, better to see this as a suite of connected songs, reflective of Lloyd’s performance concepts and his desire to create music of often startling beauty with musicians who share a similar view. This epitomised by his sublime soprano on ‘The Heron’, its stately calm redolent of the bird’s watchful stance. Hard to classify, for sure, but compelling nonetheless.