The musical partnership between Kalaniemi and Alakotila has thrived over a remarkable 35 years, long enough to the Finnish pair to develop a stunning intimacy and telepathy. Kalaniemi is a lovingly melodic accordion player, with a sharp ear for a good tune, building each one into a thing of great beauty, while pianist Alakotila not only supports her but adds enough of his own to help transform every piece into a glistening gem.

There’s a sense of calmness to the work here, a long, sweet exhalation between two instrumentalists who are deep enough in sync to allow seamless improvisation beyond any written score and carry the listeners along with them. For much of the album, it’s just the pair of them, including Kalaniemi’s wordless voice, as on the opener, the tradional “Lyckönskan.” She does charmingly sing lyrics on the title track, written by Lasse Mårtenson, with the sound there neatly and sparingly expanded with the addition of a string quartet.

Morgondimma

There are several original pieces alongside the tradition, with Kalaniemi’s “Hambo Vid Fäbodan” a real standout, and it’s perhaps inevitable on any disc featuring accordion that a Piazzolla tune should be included, brings its own shadows to the whole (“Oblivion”). And, this being Finland, a tango is almost obligatory, in this case Alakotila’s “Tango Berlin.”

Tango Berlin

There’s a gentle, dreamlike quality to so much of this, flowing and mellifluous. The pieces aren’t an arena for showy virtuosity. Instead, the two musicians serve the tune, exploring and genuinely enjoying their performances.

It won’t shake the earth, but it makes for some true listening beauty.