When I came across this recording I was simply delighted as I had a chance to see that on the stage , perhaps a couple of years back in London’s Vortex. I remembered that as a stunning performance and till now I wasn’t aware it had been recorded. So I was even more thrilled when I noticed it is issued now , as it is a really special project in Kenny Wheeler’s portfolio.

It reminded me that he was 80-ty at that time and truly at the peak of his form. Same applies to the amazing Norma Winstone. “ Mirrors “ brings them together in that exceptional collaboration with the London Vocal Project directed by Pete Churchill. The 25 members choir appears here backed up by jazz quartet: Nikki Iles on piano, Mark Lockheart on saxes and the rhythmic section including Steve Watts on double bass and James Maddren on drums.

All music had been written by Wheeler to accompany poems by British poet Stevie Smith as well as selected texts of Lewes Carrol and W.B Yeates and commissioned by Berlin Jazz Fest, where it had its première in 1998, originally in a version for five solo voice consort. One can imagine him self how 20th– century poetry quoted could be possibly framed by Ken’s music, which is very him and recognisable to those who are familiar with his earlier big bands realises.

But looks like it was an apple on the eye for all of them if they decided to get back to this music after 20 years it had been written. Good for us as this is really The Jewel in the Crown. Deeply emotional and personal Margaret’s poetry is served here presumably in completely different context as it could be written back in her days. Flying on the choir voices is giving it more openness and regarding to the intimacy spelled in her words, becomes shockingly straight forward by its honesty (The Broken Heart ).

Black March in contrary sung on the straight bit has completely different presence. I can believe it might be a very personal thing when it is read like that but under Pete Churchil treatment to Ken’s music it became more like a manifest song glorifying beauty of the friendship.

More surreal Carrol’s lyrics are giving the band and choir more possibilities to make arrangements sparkling and it really comes to the vocal masterpiece. But the icing on the cake of this recording really is Norma’s version of Carrol’s Through the Looking Glass. Sung with crystal clear voice on the choir vocal background and with a gentle company of brushed crushes it makes perfect introduction to Wheeler’s wonderful deep and reach solo flying over the trio.

This few lines of music makes such a wonderful illustration to these lyrics than they really became the lightest highlight of the session. She made these words sounding more serious than they ever supposed to. This is highly recommended recording and truly a must have on every serious Lieder lover’s shelf. Must be heard to be fully appreciated as it goes far beyond my single review space allowance, hence I have to stop here.

MIRRORS: EDITION RECORDS PR

Latest recording from talented American vocalist and Grammy nominated jazz star just have seen the daylight at 16^th of September this year. So this is as fresh as it only can be. This recording is singer’s tribute to great Brazilian music and all the artists she had been inspired by over the time.

The Album includes both, some original compositions as well as the classic songs from the biggest names in Brazilian Music, including Tom Jobim, Dori Caymmi, Marcos Valle and Roberto Menescal, who also quest appears on two tracks, including his own most recognisable O Barquiho.

This is not the first time Stacey touches this repertoire hence there is no surprise. Her long time affair with the Bossa Nova is well documented on her previous recordings, including Brazillian Sketches, Dreamer in Concert, Ao Vivo or Platinum – selling and probably best known to the public the Breakfast on The Morning Tram.

She successfully covered all the greatest American songbooks and already placed herself into the pantheon of the most sophisticated jazz singing ladies today. She is the kind of unique as well as with her fluent knowledge of five languages her ability of interpreting originals, coming from other cultures than the one she grew up in, goes deeper. Together with her interesting voice timbre – clear and captivating and with the phrasing skills and unique style, sensitivity and sophistication, she has got a seriously dangerous weapon. It is not a surprise again, that whatever she has chosen to perform possesses her own characteristic contribution. A kind of modern achievement which adds into existing tradition of performing that particular repertoire.

Listen to her Samba De Uma Nota So, How Insenstive or O Barquinho and you will immediately know what I mean. But what spells even more charm over me are the originals here , and the way how they blend with classics.

Since they became the one, Tomlison’s contribution into Kent’s achievement became obvious. Call it love influence with all the good things it brings. Those two simply broadcast on the same wavelength and know how to complete his partner in the best way. Like Ella and Louis or Billy with Prez before.

Just listen carefully to the title song, Mais Uma Vez, or The Summer We crossed Europe In the Rain and my favourite Waiter , Oh Waiter. It seems not to be an accident then that Stacey loves these songs so much as they seem to match her musical personality very well.

She is the great story teller. Her voice doesn’t have massive volume, but instead is equipped with deposits of sweetness and charm which are big enough to hypnotise the most resistant ones.

With this recording She didn’t only redefined what we use to know as the Bossa Nova,. She also did  redefine herself through the prism of Brazilian music. It was always such a big part of herself and a milestone foundation of her style from the very beginning.

To me it is one of the greatest recording of the year and certainly I am feeling privileged to write about and proud to be able to highly recommend it.

Artist’s side

This Norwegian trumpeter never stops surprising me. His adoration for winds always makes me asking why he had chosen a brass instrument to play on. But thanks God he did. This record says all about itself in its own title. Tunes titled after places of cult or taken from the world mythology set up the mood and make you start praying before you even have time to think about that. Doesn’t matter if you are religious person or an atheist. The worship is spelled into the music. In fact the music actually is nothing else but Worship.

That’s why an opening Athan does exactly what it’s suppose to do: call you for the morning prayer. In the down Arve’s trumpet gentle and monotonous sound like muezzin’s song welcome new day, just freshly awoken in the misty vapours and bathed in the birds’ thrills.

Saraswati influences, just like the wisdom which just came in a flash. Understanding what life is really about. The more questions you ask yourself the more wisdom you gain from your morning prayer. Sampled universe of sounds behind his trumpet roots in vast musical tradition. From J.S.Bach’s music purely created for Gods adoration through jazz influence coming from Davis’ Sketches of Spain like to the modern ambient trumpet gods, like his country colleague Nils Petter Molvaer.

It’s mostly trio here (Henriksen, Honore, Bang) but several quests appear in person or in samples. Like Lars Danielsson, Eivind Aarset or Jon Balke to just mention the few.

P. Valery’s ‘Le Cimetiere marin’ is all about mortality and immortality, body and soul, life and death. So is Arve’s. How well he said that on his trumpet one have has to hear to believe. This far eastern like sounding piece of sonic meditation is in my opinion the most beautiful tribute to prematurely died Barbara Buchholz, German artist and leading theremin player to whom this recording is dedicated. I had a luck to see her on the stage with few of the musicians present on this recording, hence I have a deep feeling of taking a part of the Requiem mystery.

In The Sacristaian his long and pure solo builds like a poem on listeners sensitivity. As is his vocal in the following Lament. It really takes full hands from contemporary mystics like Part, Taverner or Takemitsu.

This is a very unique blend of philosophical paths which brought human beings to today’s reality. The cocktail made of fruits of different Arts. Ingredients coming of inspirations which had been valid over centuries and still are today. Pure naked beauty against common misery which no one even likes to notice in the daily news. But it is here. It’s a part of the life and a part of us then. It is the truth about the secret of The Life and Death.

This is the Worship then, as I said. A very beautiful one.

RCD 2147 PR

RCD2147 Reviews, including our one originally published in HFC

To complete an unusual bunch of titles for the issue I got for you here The Magnolia Acoustic Quartet début recording. Its not the latest one but it doesn’t really matter as the music it contains could be possibly recorded few years back as same as in the upcoming future. If you like labels like CIMP, Atavistic, Cryptogramophone, Hat Hut, AUM Fidelity ,FMP or Leo or adore artists like Cecil Taylor, Joe McPhee, Fred Anderson, Ivo Peerlman or Mikolaj Trzaska , etc. – then your going to love that music.

Why ? Because there is pure spirit of freedom and power caught up during this session. Something miraculous and rare, what doesn’t happen too often. This kind of spontaneity and courage to play with an open heart and mind such an adventurous sounds doesn’t come every time. Hardly any it happens when the youngsters catch up the subject.

It had been taken just in a year after the sax player Szymon Dziworski decided to start the band with a rhythm section employing Patryk Dobosz on Drums and Mateusz Dobosz on Bass. Quartet is completed by pianist Jakub Sokolowski, who composed the music on this excellent recording. Set contains 12 tracks : Six entitled and six numbered improvisations.

There is no such place in music heritage which those guys didn’t dare to explore. In a very intelligent way they took a lot from the tradition and made it their very own. Opening Coming soon somewhere sounds like an open score to invite all those who would like to join. There is a lot of room left and composition is framed into somewhat a big band like arrangement than music for the quartet.

Coming after Mademoiselle C, is just pure beauty and gentleness, bringing immediately the great Bill Evans to mind. If I guess right and the title pays tribute to former Paris Vogue editor-in-chief and fashion stylist Carine Roitfeld, then it would be difficult to find more sophisticated music to describe the person.

Kwartofle are giving the listener the first taste of band’s improvising abilities. Tittle is a puzzling word mixing meaning of a word quartet with a word potatoes. So in a purely improvising manner, let everyone try to get for himself all the universe of imagination behind that tune 😉

Boozer, the next track slows things down. It’s a loose platform for both piano and sax set on consequent bass walking accompanied by constant drums bit , with just a few breaks coming when soloists are introduced.

Wonderful Sleeping with Dolphin is my favourite track here. Romantic piano introduction meets here saxophone lament in the highest climax. The tune itself acts as an intro for following improvisations. It is fastening all together nicely as improvisations are not purely taken from the jazz tradition , but also from contemporary classical music and impressionists’ minimalist achievement.

It is hard to describe somehow particular pieces ,and definitely not easy to compress it as the path for inspiration is vast like an eight lane motorway with ideas speeding up here and there in every possible direction. Take that picture as my best description and you might then guess what I mean. If you like to drive you have to get in – it is as simple as that.

Robert Glasper’s 2012 breakout Black Radio won him the Grammy Award and international fame. Glasper himself is highly skilled and creative pianist, but to be honest his Experiments, both the original one as well as the latest don’t break any boundaries to me at all. I am not the one who likes to write highly critical texts, as I am both: a positive person and a honest music lover.

Let me explain my position then going back in time and picking up some really sweet cherries and leave writing an exact review of this album in the hands of somebody who might find it fresh, new and innovative. There is plenty of young sensitive people around who might just feel it that way.

Now jump to the time capsule and get back to 1989. Talking Grammy – there was an album that won 7 of them ! Quincy Jones’ Back on the Block. It was in this year when I first heard that one and it really turned me up. I was more or less advanced jazz lover at that time, but still remembering my chappy popish – rockish days 😉 I was gob-smacked by the way it blended almost all what was present in music at the time. R& B, Funk ,Rap, Jazz . It included all those performers who were meaning a lot at the time as well as samples of voices coming from the two of the Greatest Divas the Jazz ever had – Ella and Sarah. It had a context and the freshness.

It was NEW and INNOVATIVE. It was “jazzt as great” as the Genius who made it happened –  the Quincy Jones.

I still have this Album on my shelf and it still is as fresh to me as like these 24 years never passed. That’s because all of this there makes it  a pure core of American Music. Later on it was Blue Note again, as it was before in the past, who brought the new to the table. Projects like Us3 , Jazzmattazz by rapper Guru are still well remembered. Or others who belongs to the 90’ties Acid Jazz movement, like Ronny Jordan, Galliano, Incognito. Buckshot LeFonque by Branford Marsalis. From these names evaluated Brand New Heavens and many others. From this tradition also comes the latest recording of Esperanza Spalding – Radio Music Society.

Of course it all started much earlier with all this cross talks made by Roy Ayer ,Donald Byrd or Grant Green. Then Miles Davis , who did blend funk and heavy rock riffs with improvised jazz and put the whole world upside down. There are still many people around who can’t forgive him that. Then Herbie Hancock was the one who did it again, but with Funk , in his own way. But we really do not need to go back that far. Lets stay in nineties as all what Black Radio, one or two, reminds me was already there at that time.

Let me put it this way. If Black Radios could do as much good for Jazz / Music as The Back on the Block did then I am pleased to see it here. I respect that new generations have his own language, sensitivity and standards. There will be the time to understand the tradition. Never mind. There is nothing wrong with this recording. It certainly possesses the quality and all the artists involved in it are the league of their own. Don’t get me wrong. But it doesn’t brake any boundaries, honestly – it just gets Back on the Block, more or less, which is a great achievement and valuable contribution … , pero nada nuevo.

BLACK RADIO 2 BLUE NOTE PR

Michal Wróblewski is a unique figure on the Polish jazz piano scene. Many skilled and well educated musicians graduate at Music Academy in Katowice, but hardly such talents appear.

I came across artist’s début recording I Remember, which I spotted scanning news and wanted to hear more straight on, so when the chance came, I jumped on it.

What is catching up from the beginning is musician’s natural ability to stay on the melodic side whatever he is writing. Opening title tune, as well as its closing session alternative had been obtained from the others. Six out of 9 are pianist’s originals , one track Seven Days Only had been written by trio’s bassist Michal Jaros , Little Giant is obviously variation played on Coltrane’s iconic Giant Steps tune.

I remember contains chords progression which is partially quoting Nirvana’s great hit Smells Like Teen Spirit, previously taken on the piano workshop by Ethan Iverson of The Bad Plus , but this one is not a cover and certainly is more harmonically complex and interesting. It is possessing an enormous drive and as such is a great choice for the opener.

One for Dotti brings us straight to the pianist’s own universe. This is the land of gentle illusion , so emotional and well put together, with very lyrical and melodic motif and nostalgic choruses. All trio contributes here greatly and especially bass lines complaining leader’s lines. This trio did learn their lessons well and certainly all important things which happened in jazz piano trios since Bill Evans to Brad Mehldau are here.

Following funky titled Jarretude makes no secret to whom the young master is paying the tribute. It is amazing how one can say things in such a different ways using the same words. That happens here. It is Jarret’s vocabulary, but there is no single quote I can reckon , but his spirit- it’s there all the time in the respect how Michal spelled it  in to his score.

Fuga played by jazzmen automatically brings memories of J. Loussier to most of the listeners, including writing these words. But again when Jacques’ approach was more syncope MW Trio makes it more Baroque, as all musicians actually keep playing Fugue in call and response manner instead translating it to the jazz language, until drums interlude breaks it down. Again as it is one off on that CD it just shows musician’s versatility brilliantly.

Shadows, consecutive piece is a lovely ballad based on strong bass riff around which Wróblewski is weaving delicate melody occasionally accented with dynamic piano chords. Rhythm is flirting with listeners here, drifting from slow motion waltz to lazy rumba tempo.

Next in row, the Polish Chant is a beauty. Artist picked up a folk tune and kept it in the repetitive chorus surrounded by piano architecture which keeps reminding Paul Bley’s rhythmic structures, more intellectual by their nature and counter-pointing a simplicity of the naive tune gorgeously.

Giant Steps with flirting tempos and line inversions is simply masterpiece reading and possibly the greatest tribute that one can pay to the great master. Jumping on the bassist score shows maturity of his composition , which keeps bass involved as one might expect, but with perfect balance and space left for the piano tissue and gentle drums thrilling.

Outro makes lovely way out using same theme but slowing you down and helping to leave that sonic heaven without striking regret. This is brilliant recording and I strongly recommend anyone to get it as well as remember artist name as it is going to be the great one very soon.

BUY IT here

ti-an-guis is an international and versatile group playing folk music from all over the world in their own interpretations.They are perfect blend of young talented musicians from all over the world.

Mexico( Pepe Garcia-drums & Carlos H.J. Anderson – guitar),

Croatia ( Lovorka Holjeval – vocal ),

Portugal (Francisco Medina – guitar) and Brazil ( Noa Stroeter – bass ).

Multi-kulti background brings new and fresh qualities into the music which band members had chosen to play. And inspirations are vast, not only covering squad origins, but also some tunes from countries like Senegal, Guinea, Cape Verde or Romania. Plenty of surprises to be find here.

I wouldn’t call myself a layman when it comes to the ethnic music. I am listening to a lot of world music of different kind , recognise artist from Africa, Latino – America and many European countries.I am familiar with Turkish, Bulgarian ,Croatian, Polish, Russian, Portuguese, Spanish, French, German and Italian music.I know when I am listening to African music from Mali, Senegal, Egypt, Maroco, Nigeria or Ethiopia and can recognise many styles. Sometimes even a particular area from which artists, styles or songs originate. But I only came across one track on this record which I am familiar with – Ederlezi.

Let me start from that one then. It became massive hit after being used as a theme for Bregovic’s cult Underground movie. Those who copy the words will find Lovorka’s version closer to original and more emotionally engaging in the subject’s context. Following So te kerau, belonging to the same tradition sounds more funky as such is a text holding half of the rhythm together with simple percussion accompaniment. Lovorka’s lead is here followed by the rest of the band in choir, but specific sound of Portuguese guitar bringing often associates to Greek Music by the way it’s played.

Senegali E musasa lovely blends a fragile African harmony with some repetitive vocal arrangements known to me from South American music which seems to be obvious here. Two following Mexican tracks are possibly as close to originals as one can guess easy when they came from. Still however posses original band’s signature coming from the creative mix of personalities.

Ljubav se ne trži sounds to me like one this typical Balkan songs which women used to sing during fiestas or when working together. Crazy, cowbell like rhythm is giving different drive and vitality to the song which I believe was possibly sung originally in much slower tempo.This is very adventurous material and full of fun, authenticity, honesty and wonderful discoveries. Land of sounds never being heard before and a natural joy of playing music together. It is always worth to remember where the folk music came from and this had been prevented here.

No point to analyse it deeper as it really is a novelty in every aspect and everyone will find there as much as he is capable to recognize intellectually or emphatically. It has my highest recommendation from the first to the last note played. Additionally it is worth to mention that the Label offers their catalogue for download only, in all resolutions the listener might wish himself to buy. As my review files arrived as a studio master I can only say that the recording quality is nothing but a sensation ! Put it on some good glowing set amp and connect to the horns and you are going to put the kettle on to make a cup of tea for those chaps.

I am following Porter’s recordings with true adoration since I heard his début Water long play.

Then an excellent Be Good followed and now we have got another début here: Liquid Spirit is the latest one and it is as well Gregory’s enter into renowned Blue Note label. Once you are there you became a part of the Jazz History and life is not the same again. On the other hand Blue Note has now in their Stables both greatest male singers of our times: Kurt Elling and Gregory Porter.

His voice has always had massive volume. This is something which was obvious to Greg’s pianist and arranger Chip Crowford. Those Two are a real match in heavens and as a tandem which understands each others needs intuitively and supplying an excellent output. Gregory’s musicians remains the same ,which is good as they truly worked out together a unique style and changing that would affect this fragile balance.

This album contains 14 beautiful compositions which are all built on the same well trusted formula. With Chip’s interaction with Greg’s vocal being a core on which Yosuke Sato builds his own deeply lyrical phrases and trustworthy section is always there when it is needed . We also got here fantastic brass arrangements which adds to the blend some special flavour. The whole album gains more vigorous nature due to that. But Greg’s previous couldn’t be called slow either. There were always a massive deposits of energy which had been waiting culminated just to erupt. But this is a vocal début of the year for God’s Sake – so the real power comes with the lyrics ,and here as always ,they do not disappoint.

No Love Dying set up the mood perfectly, as the waltz on Be Good previously did. Here , Under The Bridges and Hey Lora are two ballads which build a core for this set up. Then the tittle hit Liquid Spirit ,next Musical Genocide and Free turn into the driving force of the project. They are all set on vivid piano bit and sparkling bass dribbling with energetic fingering. They all have a great chance to become the same great hits as 1960 What ? from the Water, which still remains one of my favourites.

They all have this something which makes you want to listen to them all over and over again. Wolfcry , Blue Grass and When Love was King , similarly like I am feeling Good on Water , on which I heard Greg’s wonderful and deep baritone for the very first time, are those songs which are presenting his voice in its purest form , with Chip’s piano accompaniment building around to make harmonies just perfect. Listening to this is a real pleasure. This is when Greg and Chip come at its best and are showing the class for their own.

It is most contemporary achievement where they makes you aware who’s paths they are following, but showing you in the same time that there is still an unknown path to step on in the front of them. You can hear there Cole Porter ,Marvin Gaye, Tony Bennet, Jimmy Scott to just name a few .You can also hear frequently reminiscent of Elling’s phrasing, even if his scatting and vocals are not quite up to that level yet, they posses full tone and richness which heralds that New King is Born. For the rest we have to wait.

This is simply excellent album and a milestone in today’s male vocals. Those careful listeners who pay full attention will be rewarded greatly ,as every next listening to this brings more and more to the table. And as it is always the  true with Porter – the driving force lays in his originals.

These are lyrics that make a singer great . They always were.

LIQUID SPIRIT  BLUE NOTE PR

Gamak is saxophonist’s second long play for ACT ,but when watched carefully it comes as a fact that this is his thirteenth album as leader or co-leader. On the same occasion it re-unites him with his old band mates – bass-man François Moutin and drummer Dan Weiss, the rhythm section from his long-running quartet he’s been recording his Codebook album for PI in 2006.

On the top of that appears David Fiuczynsky – legendary American guitarist and a master of micro tonal style , whose eclectic virtuosity and undefined psycho rock inclinations bring a whole new world to explore for Rudresh – restless spirit himself and undaunted innovator. His hindu American background makes him unique figure on music firmament, not even exclusively appropriated by jazz, but also by Indian traditional, American Rock and even Chinese scales and Balian gamelan reminiscences .

All music on the recording are Rudresh’s originals. Really hard to find more influential individual on today’s sax firmament and Mahanthappa really is one of a leading figures of his generation. Knowing his Kinsmen and Sandhi projects I had really a chance to get used to that whatever you believe you can expect to happen – you are wrong . And here they didn’t disappoint either.

Opening alto solo on Waiting is Forbidden with all its power and intensity reminds me Wadada Leo Smith trumpet playing. There is not many things you can compare this to, even less one would like to stay purely in the music department. If Coltrane was born in Karnatic India or by the chance got anywhere close to there – it would be close to imagine which form he could adopt to express his religious passion.

Following Abhogi changes the face radically. It is more like a cross of Country tune with Hawaiian flavour trying to charm the Raga. I told you. Step further is Stay I .It shows phrasing which is more melodic and is full of rich thrills. But just behind the corner there are completely different notes waiting for a listener. Blend of Indian harmonies riding on psychedelic rock section and constantly exchanging views with Fiuczynski’s guitar are both surprising and overwhelming.

Both soloist’s creativity and contemporary talk makes it happen and it really is BIG !You can find an echoes of Oren Bloedow’s The Whistling Hangmen there ,as well as some similarities to John Lurie’s early trips. Somehow it takes a lot from John Zorn’s Naked City projects as well as from Knighting Factory aesthetic which is good, but Rudresh’s Indian spirit definitely makes it different and very individual. Despite all connotations the home work had been well done they definitely posses their own voice. More of that it is the one well worth to listen to.

Recording quality is rather special too, what helps enjoying complicated structures of the compositions even more. It is a must for every modern Jazz fan.

Once I heard Neil’s Cowley trio live they got me immediately and I kept digging back to the band’s beginnings with rapid fire speed. First 2 albums show the potential and leader’s charisma straight on, but remember I went there through the kitchen door ,starting from the latest Mountain View and later on its Live Montreux version CD. But I live it now for the next issue , they are both fresh and can wait a little ,when the real brain breaker is their 2011 Radio Silence recording.

This is where it all started. From this LP the band offers constant end established sound with recognisable sound . Cowley’s lead is obvious here ,but like with EST his domination comes from the power of his piano and it doesn’t limit his rhythm section in any meaning , leaving them all freedom and creativity they only would like to sparkle to make it even more rich and consistent. Neal’s lines are clear and melodic , repetitive motives are served alternately with slow lyrical breaks or interludes, like in Monoface and Stereoface – two pieces with extremely different dynamics , but similar sense of humour building the core of both.

First reminiscences EST’s from the Gagarin’s Points of View with its unstoppable galloping progression. Similar feelings come with Gerard – wonderfully twisted theme, full of changes, music jokes and joy. Watching them playing that on the stage made me understanding the whole concept of this great joy of making music together. Perfectly shared from the watching audience.

This is something they got in common with EST – something that The Bad Plus for example doesn’t posses at all to the point opposite. Neil’s fingering is brilliant and rich – going much further than many of the jazz pianist are capable to offer. He is equally capable to play heavy percussive wall of sound as to go quiet and spell delicate charm around the listener’s minds. He also posses this kind of creativity which employs equally to the game both – his sense of humour together with intellectual part of his nature.

Massive passages like from great piano concertos are weave with burlesque tissue, like in A French Lesson. Other crazy titled tune Vice Skating is wonderfully rich waltz with changing tempos and incredible under-skin drive – coming from brilliant section collaboration, when seemingly on the surface not that much seems to go. Desert to Rabat is another piece of music which is like an open book .All trio contributes to build it up and you can see how it grows all the time . And you also have the sense of direction into which it could be taken every moment if they only liked to .

They make it look so easy like a snooker final in the hands of professionals, when we all know that it is not easy to cue the ball right. Hug the Greyhound is another example with such a workshop like appearance to the listener. Carefully written with brilliantly given space for everyone to show its bests it makes you believe it is pleasurable slide down ,without showing the real level of difficulties behind the score.

Closing Portal starts as a calm ballad ,but it soon turns into the wavy kind of saying good bye. At it is exactly the essence of their style. They are vivid, clever and unpredictable. Pure joy to listen as it always was an issue with an Esbjörn Svensson Trio. This Trio is a gate to the heavens for those who are adventurous enough to step in .