Fourth recording from young saxophonist and the leader of Norwegian quartet Hanna Paulsberg, brings some new inspirations. To me equally interesting is a dedication of the record to Pharoah Hatshepsut, which these days when the world is ruled by weak and false male hypocrites and the women need to fight for their rights again, has a special meaning.

Like them back in time Hatshepsut had to fight for her independence and respect, what sadly shows that despite so called civilisation the humanity goes in circles over and over through the same gender wars. But let’s get back to the music.

Paulsberg’s inspirations, unlike most of the other Scandinavian players are not taking that much from the folklore but heading back towards an American source and as a natural extension, back to their African roots. This project in particular shows that concept.

An opening Scent of Soil starts with a lovely intro, doubled with the harmony created by the choir of musicians in short choruses. Leadingbass line and holding melody piano are both creating a canvas for that slowly opening piece, where Hanna together with the special guest, trumpeter Magnus Broo holding the melody together solo or in lovely unisons. It brings the intensity of the late Alice Coltrane recordings with a spiritual twist hidden between the lines, but also with very vivid trumpeter’s solos a contemplative nature, Jon Hassel alike.

Another track, Serriana has similar harmonic richness but with more figurative appearance of the brass, audible when melody is passed by from one musician to another and then held back in circles.

Little Big Saxophone coming after is a different creation. Piano and rhythm section is waving the framework for high brass flights. Here is where intense double lines from sax and trumpet are dialoguing with percussive piano chops. Again, Broo’s presence seems to be a great idea giving a band departure from the sound which we are remembering them for from the past recordings. This Brass Fantasy brings to the memories Lester Bowie’s conversations with Hamiet Bluiett, but in a different register of course.

Hemulen Tar Ferie is my favourite piece from that recording, possibly because it comes in its onomatopoeic approach as close to my beloved an Art Ensemble of Chicago or AACM sound in general. It is most intuitive track with a lot of invention developed from all the band members and holding into simple and beautiful melody in the same time.

Title tune is the One about her. It has that nomadic feeling, with the drummer creating a Caravan alike feeling on rides with bassist chopping intervals and laying the groove in the same time. Sax lines are very pretty here, very Coltrane-esque in their simplicity and they had been executed. Lovely straight notes, not a lot of thrill, which had been left for trumpet to bring. Duets of both instruments are brushing a clear view for the subject with no doubts or foggy feeling.

Closing Bouncing with Flower Buds, is again bringing a post AACM aesthetics with lots of freedom given to the rhythm and articulation allowing musicians to elevate their voice in the mutual tissue into a different level of the conversation. Lovely piece which I admire a lot. Phenomenal recording all together.