Big bands are very much a part of the European jazz scene in a way that they are not in the United Kingdom. Denmark is home to two professional big bands, the DR Big Band and the Aarhus Jazz Orchestra, directed by Lars Møller. The Aarhus does not lack in ambition. Last year their big project was the music of Kraftwerk, while in 2013 it was a through- composed suite by Møller, inspired by Stravinsky’s ‘Rite of Spring’. Stravinsky had a soft spot for jazz, something that fascinated him and even influenced pieces such as ‘The Soldier’s Tale’, ‘Three Pieces for Clarinet’, ‘Ragtime for Eleven Instruments’, ‘Preludium for Jazz Band’ and ‘Tango’. He wrote ‘Scherzo a la Russe’ for the Paul Whiteman Orchestra and ‘Ebony Concerto’ for the Woody Herman Orchestra. Jazz, of course, would return the favour much later, using the kind of complex harmonic layers and rhythms that were as much a feature of ‘Rite of Spring’ as they were ‘Petrushka’ and ‘The Firebird’. Here, Møller’s work is not a “jazz adaptation” of the ‘Rite of Spring’ score, rather a taking-off point for an ambitious three-part suite inspired by various Stravinskian ideas and concepts in his legendary ballet suite. Recorded on consecutive days, the first day live at the Copenhagen Jazzhouse – CD2 – and the following two days in the studio – CD1, Møller’s writing has both depth and originality. Liebman seems to have an inexhaustible well of energy and inspiration, which he draws on here; it is difficult to think of anyone who could fulfil the role of featured soloist as well as he does here. Marilyn Mazur is a percussionist par excellence, with her own individual touch and approach, and her work here is similarly inspired. But in truth it’s Møller, whose shrewd conceptualisation and management of this project, deserves the ovation for an inspired piece of work.