Her latest album, some 10 years in the making, shows just what a supple and powerful instrument a jazz orchestra can be. The title refers to a farm owned by some family friends in the South-West corner of Minnesota, near where was raised herself. It’s unspectacular country, apart from those occasions when a storm boils up on the horizon, but Schneider loves it deeply. The eight numbers on the album, all composed by Schneider, evoke its quiet, unspectacular beauty.

The liner notes are an indispensable part of the experience, picturing the landscape and its wildlife through Audobon’s bird paintings and photographs of country lanes that to a British viewer look remarkably familiar – until you turn the page and encounter another image, which shows this landscape is on an altogether vaster scale. The music echoes that quality of being both huge and intimate. Often a number will begin with a musing, gentle solo, such as the plaintive accordion melody played by Gary Versace that begins Home. At first this is heard against high tinkling piano, beautifully played by Frank Kimbrough (like all great band-leaders, Schneider attracts the best players because she gives them space to breathe). Trou Program Bewoording. This is soon subsumed by a chorale in brass and saxes, and the music swells to a broad tutti glow.