As good an example as any of a fruitful transatlantic creative exchange. Furthermore, this is an endorsement of perhaps a less heralded figure in the recent history of jazz trumpet and cornet – Denver's Ron Miles. Trinidad, a former student of his, is vocal about the importance of his mentor, also cited as a major influence by the likes of Ambrose Akinmusire, and this well written and performed set makes that clear. Trinidad mostly does economy rather than expanse, and the absolute precision with which he plays on largely elegiac, downtempo material is impressive, primarily because his broad tone and unhurried, uncluttered phrasing, whereby each note is prized almost as a word in a statement that stands alone rather than blending into countless others, imbue the session with real gravitas. The more melodic end of rock, folk and ambient music are fundamental parts of the trio's sound and Trinidad's two Norwegian collaborators, guitarist Jacob Young and drummer Ståle Solberg, are well suited to songs in which theme is to be foregrounded as much, if not more than, variation. The distinct change of mood that occurs when Young switches from bristling acoustic to grinding electric guitar also widens the scope of the work, and the jagged edges of his wahwah playing set against the harder backbeats of some tracks push the group into vaguely similar territory to that of another perhaps underrated American, Cuong Vu. However, Trinidad, clear as his sources of inspiration may be, has developed a sound that feels very much borderless as it is genre-less, the gravity implying a battlefield bugler and the levity a street mariachi, both with a story to tell.