Khumbula

Three decades on, Moholo remains the formidable free-improviser he always was - but Tracey has largely returned to the structured, song-shaped swinging music he began with. The gig, therefore, might have been a meeting of well-intentioned old associates who had become musical strangers. Tracey even implies an unease about it in his notes to the set, but he records that when they sat down to play - with no prior discussion - the music just took care of itself.

It's true that Tracey sounds at times like a man trying out a punchline on a fellow-conversationalist who barrels on without hearing it: he is used to building an improvisation to a cliffhanging resolution that's picked up by others as a trigger for cruising swing. Moholo, by contrast, sustains a hissing, simmering kind of rhythmic trance rather than a groove, depriving Tracey of his usual narrative shapes. But the pianist responds to the challenge with typically economical ingenuity.

On the two-stage opener, Molo Afrika - Later Europe, Tracey begins with hopping, tinkling figures that develop into seamless chordal rumbles over Moholo's boiling percussion, before the piece turns into delicate minimalism over castanet-like sounds and sibilant whispers from the drummer. On Landela, Tracey sounds on familiar ground - urgent, rocking phrases descending to emphatically banging chords - while Moholo broadens the percussion canvas to include a gallop of tom-toms and fizzy metalwork. The drummer compellingly explores rising and falling pitch variations while Tracey jangles combatively at him on Shapes. Elsewhere, Moholo falls back and Tracey gambols in the open spaces of Musicale. The closing Goduka starts like an Ellington train-rhythm tune, then becomes sunnily amiable, unleashing some of Moholo's most creative playing. Completely in-the-moment music-making.