These works—a dozen fantasies, two In nomines and two wonderful pavans—date from the 1620s, when, as Laurence Dreyfus’s erudite but colourful liner note informs us, the new Italianate style, with its lighter demands, had begun to make its influence felt in English chamber music. Yet Jenkins’s dense polyphonies sound anything but old-fashioned. He has a personal, vivid style, full of fresh ideas, strong contrasts of mood, bold harmonic excursions and luxuriant sonorities. A spirit of freedom allies itself with, rather than working against, the music’s disciplined counterpoint, and the result is enormously pleasing, especially given performances by Phantasm of such impetus and colour.