Reflective electric piano chords, the tsk tsk of percussion – it could almost be the the first half of a '70s buildup to a souljazz masterpiece – there’s a little electric bass, the occasional unidentifiable sound and then suddenly the marshal pulse of an electronic house rhythm sounds out accompanied by the low growl of an electric bass. Instead of resolving immediately, the music sounds like the players are feeling their way abetted by the ebb and flow of DJ Strangefruit’s samples of people’s echoing voices. Bass and percussion find a mutually conducive pattern and Bugge rejoins on Rhodes creating warm, optimistic melodies. The impression is of a grooving improvisation, each musical partner working out in real time what to contribute. Bugge’s melodic lines act as a focus for the rest of the group. Towards the end Ingebrigt Flaten’s bass moves to the fore, more on the one and surges purposefully through the shoals of white noise, drums and percussion.

This is Bugge Wesseltoft’s long awaited follow up to 2001’s Moving – a live album whose seven tracks employ themes from his previous New Conception Of Jazz studio recordings as points of departure. The structures of the originals are stretched and kneaded until at times they’re almost unrecognisable. The live recordings cover a period between ...

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