This is Henriksen's eighth album for Rune Grammofon, and on it he continues to develop and refine his approach to the trumpet that has redefined the instrument's role and sound in jazz and improvised music. He has worked many times with guitar wizard Eivind Aarset while his association on record with Jan Bang and Eric Honoré goes back to Chiaroscuro (2004). These associations are important, as instinct, empathy and mutual inspiration are key components in realising what might be called a variety of ‘slow jazz’. You could say that ‘slow jazz’ is, for many, analogous to slow food. If the aim of slow food (founded in Italy during the 1980s) is celebrating regional traditions, good food, gastronomic pleasure and a slow pace of life then you might say Henriksen's ‘slow jazz’ approach celebrates the regional (Norway), good jazz, musical pleasure and a non-frantic approach to improvisation. It's music that should be seen in the communal context rather than than as soloist-plus-accompaniment endeavour as the music's overall effect is realised in the totality of the soundscapes these remarkable musicians create. On it we hear direct allusions to the local – ‘Paridae’, for example, is a Kven theme (Kvens are a Northern Sami people descended from the Finnish people) that salutes the roots of Henriksen's family in the north of Norway and sung hauntingly by the trumpeter's wife, Anna Maria Friman of Trio Mediæval – that is the source of this hauntingly beautiful music's authenticity.