As the leading personality on the album, Vella Zarb takes a considerable amount of musical responsibility on her shoulders — and proves she is more than up to the task. Demonstrating her abilities as a skilled ensemble leader, lead vocalist and improviser, the record sees her move easily from lyrics to scat singing, replete with varied and effective use of syllabic articulation and good use of range. Instantly noticeable is Vella Zarb’s rich and inviting vocal timbre, brought to life magically through her use of shimmering vibrato. This element, in particular, is mixed excellently on the record, supported by superb use of reverb by Luke Grech (Cornerstone Studios MT) and masterer Kenny D’Ugo.

The choice and ordering of tracks on the album works well, with Almost Like Being In Love representing a strong opening to the record. The piece’s fourth track, I’ll Take Romance, for example, complements the preceding Invitation effectively, this cheeky, brief work — one characterised by a feel-good character and toe-tapping rhythmic drive supported by unified ensemble playing — standing in stark contrast to the previous work’s ad lib opening and daring use of chromaticism. The next track, too, A Dream Is a Wish, diverts the album in a surprising and exuberant manner, and features the addition of Bouclier on cuíca (a Brazilian drum notable for its tonal quality similar to that of a short high-pitched cry), a choice which brings an intriguingly exotic character to this delightful samba. Particularly enjoyable is the scat singing in the piece’s outro, matching fantastically with the cuíca and shaker and creating an atmosphere akin to a miniaturised carnival.

Whilst being primarily an album from a jazz singer, this record very clearly demonstrates the skill and sensitivity of its contributing instrumentalists. From Degabriele’s anticipatory bass introduction in the opening track — one which solidly supports the opening vocals, implying harmonic shifts effortlessly and clearly — to Galea’s flowing lines and the idiomatic yet attention-grabbing harmonic subversion present in his solos, these two core members of the ensemble hold their own as inventive and enjoyable soloists as well as indispensable trio members. Degabriele’s driving sense of pulse (particularly important due to the omission of drum kit on the record) underpins the ensemble well, whilst his solo interjections, such as in I Thought About You, are highly effective. I particularly enjoyed his haunting and richly sonorous bowing in the opening and closing of the album’s final track Stay Awake, a technique which, alongside Galea’s expert use of delay, pairs perfectly with the piece’s evocative harmonies and lyrical musings — seeming to both entice, and warn against, thoughts of slumber and star-lit dreams. Galea, too, demonstrates a strongly creative approach in his contributions to texture, his use of nylon string guitar in They All Laughed (a funny and hugely enjoyable song) producing a thoughtful and inventive variety of tone. The combination of Degabriele and Galea together is excellent, and one which consistently delivers. Their congruent use of syncopation demonstrated in Invitation, for example, is understated yet very enjoyable.