Thumbing through the achievements of Tommy Smith and the Scottish National Jazz Orchestra it's necessary to pinch yourself to make sure you're not entering some fantasy dreamworld. The very fact Scotland has a national jazz orchestra when England, Ireland and Wales do not is in itself a major achievement, never mind the fact it is internationally famous. Then there's its ambitious, year-round concert programme often involving stellar guests and tours by the orchestra that have raised the profile of jazz immeasurably in the land of the brave (and, incidentally, the profile of the land of the brave in countries where they tour). In 2011 a tour of the US and Canada was mooted, which became a reality last year – nine dates in all, plus two days in the Avatar recording studios in New York to record this album. All the guests are friends of Smith, and do not let him down, Dave Liebman especially impressive on ‘Pendulum’. The arrangements were commissioned by Smith on behalf of the SNJO from the likes of Jim McNeely, Fred Sturm, Geoff Keezer, Jacob Mann and Smith himself – indeed, Smith's writing is especially impressive on the introduction of ‘Duke Ellington's Sound of Love’ that leads into Kurt Elling's authoritative vocal. One or two arrangements fall into the Toshiko Akyoshi syndrome, whereby the arrangement gets sliced in half by a long solo (in Akyoshi's case by her husband Lew Tabackin) that wipes the memory clean of what has gone before, so when the orchestra returns, they start again from ground zero. For my taste one or two solos went on a bit too long – for example, Mike Stern on ‘Splatch’. Perhaps there is an argument for shorter solos that are integrated into the overall context of the arrangement – Maria Schneider's work springs to mind in this context – but this is to quibble at what is a magnificent achievement that confirms Smith and the SNJO continue to do the impossible with class and style – no wonder they brought 12,000 people to their feet for a standing ovation at Scene TD during the 2013 Montreal Jazz Festival.

Jazzwise spoke to Tommy Smith about the album

Logistically, taking an orchestra the size of the SNJO on the road in the UK is a challenge, taking it to the USA must have been a nightmare, not least just getting into the country with visa charges and petitons to say you are bringing something unique to US culture?

Unfortunately, for everyone, except me, all the SNJO had to visit the US embassy in London to be interviewed early in the morning. This process not only involved everyone completing a tedious 10 page application, a telephone interview, traveling to and staying in London, but also leaving their passports for a week, plus paying for the privilege. American artists coming to Scotland only need to give their passport information and everything else is taken care of; a very unfair system.

Well you surprised a lot of people with the kind of reception you got – the Montreal Jazz Festival, for example…

The first concert was at 9pm to a sea of 12,000 people who screamed their way through the music of Ellington and Gershwin. What an amazing buzz! Kellock and the band were on fire!

The album has no less than ten guests, and you had to fit them all in during a two day recording session. Was there any drop-ins, or was it all done live?

All music was played and recorded in real-time-no over-dubbing of guest artists! The master, Dave Liebman, was our final guest, and the only player to do one take.

A highlight for me is your arrangement of ‘Duke Ellington's Sound of Love’ for vocalist Kurt Elling – tell us a little about that one.

Well, it's a tough melody that I heard Gary Burton play hundreds of times with Makoto Ozone when I was in his band. I had arranged the song in consultation with Kurt over a few weeks but to be able to hear all the inner parts was a revelation. His voice is majestic on the track, which also featured my only playing on the recording; a solitary 16 bars!