Maneri’s melancholy sound and imaginative phrasing have been guided by the philosophies of his microtonalist sax-playing father Joe, Ornette Coleman’s free-jazz, 12-tone and baroque music – though he retains a clear affection for old-school jazz-violin swing. Ban suggests Keith Jarrett, Monk and early Abdullah Ibrahim with 20th-century classical infusions . . . . It’s a set of sometimes brooding and rather clandestine music, but it has its own kind of melancholy beauty, and plenty of wayward exuberance, too.