Helbock's 2016 debut on ACT with Into the Mystic with bass and drums accompaniment, though a little overlong and so sacrificing focus, did enough to create interest in the young Austrian pianist – certainly his piano keyboard Beanie seemed an indication of a desire to be noticed. But Tour d’Horizon seems to be part of a trend these days, where talented pianists take time out to fulfil some weird and wonderful project – for example, Helge Lien with his forgettable Badgers and Other Beings or Michael Wollny with his well-intentioned but puzzling Wunderkammer project. On Tour d’Horizon, Helbock is joined by a saxophonist and brass player and together they pay tribute to Helbock's influences, which might be interesting from someone whose career since leaving music school was a little longer and more established than a modest 12 years. Thus we get somewhat eccentric versions of ‘Watermelon Man’, ‘Mercy, Mercy Mercy’,‘Spain’, ‘Blue in Green’ – and others so predictable you could probably finish the list yourself. I’m sure he thinks this is a very good project, and I’m sure his mother thinks so too, and I’m sure there is somebody out there on some remote desert island with nothing better to do than listen to a ham-fisted deconstruction of ‘Take Five’, but I am not among that number. Like Lien and Wollny, we trust Helbock's indulgences have now been purged and he can get back to the serious business of making jazz where he does show considerable promise.