On their ninth album since 2001, the Scandinavian quintet pulls off a feat that many lesser bands fail to master, creating music that is deeply rooted in tradition but which, nevertheless, manages to sound vital, fresh and relevant at the same time. Specifically, the session is powerfully redolent of some of the more exploratory sides released by Blue Note in the mid-1960s – such as Wayne Shorter's The All-Seeing Eye – which employed acoustic, post-bop instrumentation in the service of restless, avant-garde expressionism, all underpinned by a solid structural logic. There's fine playing throughout: pianist Wiik deals in a form of stately turbulence, simultaneously spiky and controlled; trumpeter Broo has a pleasing way with squalling whinnies and shrieks not unlike some of Taylor Ho Bynum's more rambunctious eruptions; and drummer Nilssen-Love unfurls plenty of the muscular undertow that's made him such an international presence. The whole set comes across like a deeply felt, and vigorously alive, love note to 20th century American jazz.