Welcome to Haarla's re-visioning of some of Carla Bley's finest compositions. And who better to take on such a task. Haarla has been a fan for decades, especially of Paul Bley's trio interpretations of Carla's work. So no surprise Haarla too employs a trio, featuring long-time associate Krofors and his log-fire warm bass. But the coup here is to have recruited Paul Bley's drummer of 50-plus years ago, Barry Altschul. Yet this is no nostalgic nod to the past. Altschul himself hasn't played this music in years. So he brings both a freshness and deep knowledge. Take his sublime toms work on ‘Olhos De Gato’, redolent of Paul Motian, but very much his voice. Haarla herself plays with the technical certainty of her classical training, noting that in many ways Bley's songs are themselves modern classical chamber pieces. But Bley also leaves plenty of space for the soloist, and here Haarla is able to revel in Bley's mysterious but never obscure chordings. What's more, Haarla is never afraid of the big emotions. So ‘Ida Lupino’ is both grand romance, yet minutely detailed; ‘Batterie’ is all tumbling, hopping chords, given a Stravinsky feel; ‘Intermission Music’ is a keening lament, but never melodramatic, ‘King Korn’ inwardly smiles at its Monk-like lope. It's all recorded with a glorious intimate sound (feel the burr of Krofors' strings and the clack of his hand on the body of his bass during ‘Vashkar’), a sound that invites you in and leaves you wanting to go around and around, again and again.