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And to complete this act of transformation he has added the piano of Django Bates.

It’s a ‘chess’ move that might have people slowly shaking their heads in disbelief. Django Bates brings to this session, a considered lyrical certainty that opens up the music to all kinds of interpretations.

It’s the first time Mr Brahem has involved a bass and drum team on one of his recordings (Palle Danielsson and Jon Christensen were featured on represents an object lesson in what constitutes a sublime line into the art of drum/bass eloquence.

And if Mr Brahem is new to you this is the perfect place to begin.

An unusual statement to make when you consider this is now his eleventh album for ECM.

In reality Anouar Brahem has started all over again.

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He’s positioned himself inside a ‘J-word’ quartet, albeit one that is working outside boundaries.A slow rhythmic repeat of the left hand against the right hand’s pointed potent melody is positively cosmic.

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