The most representative tune happens to be the weakest on the album. A simple piece built on a six-note repeating phrase, "Poem Song" trades in earthy and accessible sounds. At well over 10 minutes, the tune also goes on far too long for little reason, and with Melford's repetitive playing and the constant tinkling in the background, comes dangerously close to new age. The rest of the album fares much better, carving a middle route between folk simplicity and spikier sonic elements. On "Rondo for Jenny," Melford takes the harmonium in a completely different direction from her piano. In place of more characteristic staccato passages and developed space, Melford takes full advantage of the decay-resistant instrument, creating a continuous, morphing field of tones. Jarman and Jenkins then take turns emerging and folding back into Melford's backdrop.
On "B'Pale Night," Jarman's alto takes on an almost humorous quality, honking along over group passages like a cartoon soundtrack. Melford here is at her most striking, ranging forcefully and freely all over the keyboard while at the same time infusing her playing with eminently recognizable blues elements -- as if an ocean storm coughed up a barroom pianist on the beach. Jenkins's contributions tend to be more subtle than the others, but he is completely suited to this type of thing. As experimental as he gets, his soloing tends to reinforce a tune rather than depart from it, and his accompaniment boosts the music around him.
