During the summer of 2019, met at La Fabrique, a residential studio located inside a 200-year-old mansion in Saint-Remy-de-Provence, France. Intent on relaxing while making music, they sought to mentally transport listeners (and themselves) to places and spaces they wanted to travel to on vacation. Using a rotating cast of studio aces in their rhythm section, they deliver a carefully curated program of originals, covers, and standards. 's classic "Save Your Love for Me" opens with a languid shuffle. 's fluegelhorn offers the melody with elegance and warm trills as adorns the changes gracefully with his grand piano. Drummer carries the shuffle with double bassist accenting the downbeat. 's "Lemonade" is a tender, jaunty samba with on electric piano. The composer contributes trumpet, keyboards, and airy vocals -- with phrasing derived directly from . ' "Late Night" is a wonderfully expressionist engagement with harmony, fluid rhythms, and subtly articulated melodic hooks. 's "Lavender Fields" is the most speculative number here, employing a nocturnal swing, pillowy keyboard strings, hovering electric piano, and warm, liquidy reverbed fluegelhorn. Only ' acoustic piano solo keeps it from floating away. The inclusion of 's and 's "September Morn" feels out of place here (though it is the single). Its tortoise-like pace is slower than the original's, and the saccharine sweetness in 's playing is almost wince-inducing. The slippery smooth funk groove in ' "Elysium" could easily have come off one of the pianist's mid-'80s chart-toppers. Its inviting resonance is underscored by a finely wrought muted trumpet solo from . The cover of "I Get It from You" (by forgotten 20th century L.A. yacht poppers ), is an unexpected delight. Its fingerpopping chart includes swinging the lyrics and adding sparkling fills and canny melodic articulations, topped by a grooving bassline and a swooping trumpet break. The pianist follows with the spectral, emotionally hefty waltz "Miranda," using 's muted horn in sparse melodic phrases above syncopated harmonic changes. The trumpeter's slow groover "Scent of Childhood" is likely to be sampled often for 's bluesy playing entwined with ' meaty chords. While sounds like he's having a ball singing on the title track, it's ' sprightly, weave of organ and electric piano filling out the groove that carries his lyrics, and thus the tune, home. The set bookend is another standard: A restrained read of 's nugget "Basin Street Blues." The interplay between primaries is tender, even sweet (absent are any traces of or ), yet its accents, fills, and interjections are colorful and in impeccable taste. On the surface, , might seem slight upon first listen. Further investigation reveals an abundance of sophisticated melodic invention and classy, intuitive arrangements that expand on and underscore the album's intended, good-time feel. ~ Thom Jurek