Agreed with Page on vocals if you got an extra track or two (and anything else that's weak at the mic placement point), can't hurt.
I wouldn't mess with switching to M/S blumlein, if you feel you need to adjust the M/S balance in post, you can do so with the standard X/Y blumlien just as well. You can do that to some extent with any X/Y setup but one of the unique aspects of blumlein vs other patterns is that the individual figure-8 mic patterns remain invariant regardless of the M/S ratio.
In fact, what I've described above about narrowing the angle between mics to fit everyone playing is pretty much the physical hardware equivalent of changing the M/S ratio later.
On the intimate feel thing though, I sort of feel the opposite. I consider that 'intimate sound' mostly a factor of getting the mics relatively close where you want them, regardless of configuration. Actually since Blumlein is going to pick up more ambience and sound less dry than the sample you linked, it will in that sense be less 'close sounding' and more open. Don't worry about the rear lobes, that's all part of the magic. But do consider that Blumlein picks up sound from all horizontal directions with the same sensitivity in 360 degrees around the mic (assuming a standard 90 degree angle), which can make it sound somewhat 'less close' than other configs for sounds coming from the front in a direct/reverberant sense, if possibly not a timbre sense. Timbre sense of closeness depends more on the frequency response of the mics. My apologies if i've misunderstood what you meant, Page.
I did a stagelip M/S Blumlein recording of a jazz trio last week and the drums and acoustic bass (somewhat similar to this) are absolutely smokin! If you are wondering, I chose to do that Blumlein as a M/S instead of X/Y arrangement so I could use the mid and side oriented mic feeds as part of another array without having to decode them. Otherwise I would probably have done it the standard X/Y way.