South African pianist and composer has been a prominent figure on the international jazz scene since 1963. Then known as , he was discovered and subsequently recorded by ( , , 1964). His many acclaimed recordings testify to a deep spiritual center and an adventurous musical spirit. On July 15, 2023, just months before his 89th birthday, and his trio -- , flute and piccolo; , bass and cello -- performed and recorded two sets at London's Barbican Hall. The concerts on offer compositions from the catalog, solo improvisations, and covers. The first set was recorded sans audience. Its six tracks include a new reading of "Barakat" ("Blessing") that is intimate, deliberate, and spacious. The three instrumentalists speak to one another around the sparse lyric melody; in places, they almost whisper, more suggestive than insistent. "Tsakwe" is brisk, approaching hard bop at times while remaining intensely lyrical and polished. Originally issued on 1969's , "Krotoa" is completely re-envisioned; it nakedly reveals the melody in a slower tempo, without dissonance. "Maraba" showcases 's gospel roots. The processional tempo is reverent, yet, thanks to the glorious flute and double bass interplay, it's resonant with quiet joy. The second volume has an audience present and opens with an exceptionally elegant reading of 's "In a Sentimental Mood," introduced with a skeletal piano solo before a flute delivers the lyric. 's double bass adds dimension, texture, and assonant color in accents, fills, and canny rhythmic asides. Following a labyrinthine flute solo, re-enters framing a key change before ushering it to a close. It's followed by a lovely three-minute solo double-bass reading of 's "Giant Steps." Arguably the set's high point is the nearly nine-minute version of 's classic "Water from an Ancient Well." It's introduced by a solo piano working the gospel-tinged chord changes before enters on flute, entwining gospel, blues, and jazz. walks quietly in the backdrop bridging dialogue between his bandmates. picks up on the blues cues and appends his phrasing. "Dreamtime" bears twin influences: impressionist classical music and . The reading of 's "Skippy" begins with rippling dissonance before the instantly identifiable vamp ushers in the band. drops out as swings hard in a piccolo solo accompanied by 's fleet, woody walking bass. Just before closing the concert, the trio offers a longer, more inquisitive improvisational version of the wonderful "Mindif" (the theme from ' 1988 film Chocolat). The show closes with "Trance-mission," a three-minute vocal solo from that is, in essence, barely discernible but serves as a fitting benediction. Pristinely recorded, warm, and utterly engaging, showcases not just 's virtuosic pianism, but also his iconic approaches to harmony, interplay, and nearly instinctive communication with . Magnificent. ~ Thom Jurek