For this, his seventh album recording and the first for UK-based Ubuntu Music, Israeli flautist Mattan Klein closes a set of original material with a fastidiously respectful rendition of Hermeto Pascoal’s 'O Faro Que Nos Guia'. It’s a well-chosen tribute to the Brazilian legend who clearly is a ‘lighthouse that guides’ Klein’s development as composer and player and whose image (from a vintage album cover) graces the artwork for The Long Run.

Pascoal’s influence is apparent throughout in long and complex melodic lines woven around subtly modulated Brazilian rhythms and spacious arrangements within which Klein’s crystalline flute rises clear and pure. He’s an extremely adept musician with apparently inexhaustible breath enabling him to convey the fluency of his musical ideas, often tightly locked with Toki Stern’s equally nimble Fender Rhodes.

The empathy of their duo is at the core of the music, and the mature restraint of the 18-year old Stern’s playing belies his comparative youth. Equally restrained is Brazilian percussionist Joca Perpignan, whose mix of kit drum and hand percussion is surprisingly low in the sound mix. When he finally gets his moment during 'Azymotiv-Hakaza' it provides an intricate uplift to the album’s most dark sounding track, albeit one featuring Klein at his most dazzlingly articulate.

A bright optimism runs through other numbers like the bubbling 'Otem Reh(y)' (another Pascoal reference) with Yoni Ben Ari’s usually well-mannered bass running off into exuberant ‘slap’ territory, while guest guitarist Nitzan Bar brings a flamboyantly smooth touch to the title track.

But while Mattan Klein may wear his influences on his sleeve this enjoyable album shows he has the confidence to make them his own.