Jonas Kullhammar, a saxophonist of no mean ability himself, is also a student of Swedish jazz and has been behind the release of some lesser-known, but nevertheless valuable, albums from the Swedish jazz archives. Although he dropped the ball on the last album that came my way, Contra Post more than makes up for it.

Recorded no later than 1994, when originally released by Caprice, the sleeve shows it was published and copyrighted in 1988. No matter: this is an album that retains a contemporaneity that is as fresh and valid today as it was the day it was recorded over a quarter of a century ago.

Seven of the 10 tracks were recorded by Jan-Erik Kongshaug at the Rainbow Studios in Oslo, and if this neglected classic had been released by ECM, rather than the Caprice label (primarily serving local consumers), its profile internationally would deservedly be far higher.

Danielsson, as shrewd a judge of musical ability as personality, has surrounded himself with copacetic colleagues at one with his musical vision and playing; they were at the time his regular working quartet. Prefab Sprout fan Joakim Milder on tenor or soprano beguilingly draws you into the compositions, while delivering a level of conceptual and technical excellence in solo, Italian pianist Rita Marcotulli is a gem in ensemble and solo whose impeccable taste, technique and touch is well beyond ordinary mortals; while Anders Kjellberg’s and Danielsson’s subtle propulsion provides the perfect rhythmic bed for saxophone and piano to shine.

Danielsson is left space in the ensembles to interact or add solo commentary in an album whose overall arc contains a series of thoughtful and probing moods at the high end of the creativity spectrum, including two bass and guitar duets with Danielsson and Göran Klinghagen. Impossible to remove from the turntable, this is an album that has already stood, and will further stand, the test of time.