Jaques Morelenbaum’s cello does what cellos always do: deepen the blue. But the music never despairs. It’s sadness of a warm kind, a blessing of tears, the piano slow, expansive, generous. A woodblock taps out the clavé, the basic rhythm of Cuban music, content to remain in the background. KoraSon is what Seckou calls “a trick word”. A big word. In it is the kora, the heart and son, the sun. Omar came up with the initial idea and Seckou laid the kora melody over the top of it. “If you look at it, when Omar is doing something soft, I’m doing something heavy, and if I do heavy, Omar is doing something soft. This is a real collaboration.”