Forget all those cliches about Nordic Noir, Roligheten’s music is abuzz with sunshine and energy. Marbles kicks off with a rollocking Rollins tribute, ‘Sonny River’, with the tenor man’s rich tone buoyed up by Nilssen’s beach ball bouncy rhythms. Nilssen is a long-time collaborator of the composer, and the recording benefits from a long-time intimacy between these chums, with Roligheten writing very much with his colleagues’ voices in mind.

This is especially true of Lindstrom’s pedal steel; he energised Nils Petter-Molvaer’s recent Ronnie’s gig, and on Marbles his shape shiftings contribute a raft of colours. On ‘Ariel’s Song’ he’s Forbidden Planet spooky, while on the MJQ-reminiscent ‘Whale Waltz’, he crash-dives between Susan Alcorn ‘outness’ and Santo Farina’s melodicism in the twist of a tone bar.

You could carp that Roligheten’s writing skids between too many style changes – how does the cosmic rock of ‘Twin Bliss’ fit with the vibes shimmer of ‘Pyramid Dance’? – but if you’re beyond the genre thing and enjoy a rollercoaster ride, jump on board.