Concord may have washed their hands of Hamilton, one of their banker artists in the past, but plenty of other labels are only too pleased to have him on board. Here he is with a trio of top Swedish players and clearly at home and in the form of his life.

Stunt have captured Scott’s velvety sound to perfection, the tenorist himself responding with yet more of that characteristic warm-toned, sibilant playing, the ideas always elegantly stated. He’s partnered by the estimable Lundgren, a pianist who has ideas like others have itches to scratch. He likes to nudge away at a lick, building expansively and swinging hard, much as does Lundgaard throughout, and yes, he’s yet another Scandinavian bassist of quality, while Leth keeps things crisp. The point to the album, apart from this happy conjunction of like minds and talents is that all the material is of Swedish origin.

Reasonably enough, the album opens with ‘Dear Old Stockholm’, taken at a sedate clip before Ove Lind’s ‘Swing in F’ really takes off, Scott’s laid-back solo style at its best, brim-full of pleasing ideas, ahead of Lundgren’s clipped, boppish solo, and some stop-time exchanges with Leth. This is followed by the ultimate slow ballad, ‘You Can’t Be In Love With a Dream’, Scott’s yearning tenor balanced by lyrical piano, the harmonies unfolding pleasingly.

Quincy Jones’s ‘Stockholm Sweetnin’’ has quite some provenance (it was first recorded with Clifford Brown and Art Farmer) but our American-Swedish foursome do it proud too, Lundgren soloing with some of Hank Jones’ unhurried ease. The album’s closer is the quirky ‘Bluesioktaver’ by the late pianist Jan Johansson, the theme played unison in octaves, Lundgren enigmatically Monkian in his solo, Scott playing tag. Top-drawer stuff by any measure.