He offers both an instant insight into Anouar Brahem’s intentions whilst at the same time fitting into the Holland/De Johnette partnership like his name was Chick Corea. Actually, to listen to the way Mr Bates falls into his lone three minute plus solo entry to , he’s at a place I haven’t heard Corea, or even Jarrett, inhabit in recent years.

A slow rhythmic repeat of the left hand against the right hand’s pointed potent melody is positively cosmic.

He’s positioned himself inside a ‘J-word’ quartet, albeit one that is working outside boundaries.

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When Dave Holland and Jack De Johnette finally enter for the last quarter of this performance they transform , and although initially commencing with unaccompanied oud this already feels taut.

There’s a harder pluck/more ‘guitar’ gut (it isn’t, but I’m talking impressions).

The final cradle of this composition has the full quartet literally Opening up the Day. They must have after all this time.) The initial focus of reminds me it’s the poise in the moment that really provides the breath. it doesn’t sound too far from the Caf, even singing the melody softly as he did on the original.

But that’s not where it stays, in comes David Holland’s sonorous double bass binding around the hook, and those funky drum patterns emerge; the oud stretches forth as if given renewed strength.

He does this with a deep understanding of the past and an eye in the future. In January 2015 I reviewed Rez Abbasi’s acoustic album, track, and set the piece up unplugged.

I’d keep on going back to Mr Abbasi’s acoustic version.

It sparks, yet at the same time I kept hearing an electric guitarist trying to get out.

I independently hunted out his albums here’s the aural proof, Rez Abbasi is one mega serious musician.

Old men look back; wise men see their past and then walk forward. The oud alone, a desert whispering voice, and then Bates, Holland and De Johnette enter like the evening tide - the swell, then the wave that sweeps all before them.

There’s a classic Dave Holland solo circulating drum beats – for a few minutes it could be any one of those diamond quartets he has led over the last forty years. And underneath Mr Bates is fabulously inspiring; doing what really ace jazz pianists do – setting up the ensemble while at the same time playing their own gobsmacking variant that makes you want to keep pressing the repeat button.

We get buzzing drones, quick licks, plucked long deep lute lines of storytelling angling into the bottom of the unfretted neck.