Here's volume four of the Salvage-Solweig discoveries, a further cull from the cache of previously-unheard tapes held by the late Solweig ‘Liz’ Grönlund, Hayes’ final companion. Simon Spillett's lengthy and informative essay lays bare all the circumstances that led to the exhumation of these live radio sessions, pointing out that they are the first in the series to feature Hayes as a guest artist, in these cases in Sweden, with four of the six pieces on the album teaming him with the brilliantly creative Bengt Hallberg's trio, here caught live. It's also relevant to point that this is not the protean Hayes, able and willing to improvise for seemingly endless periods, rather one who husbands his resources, still tonally strong and letting the solos flow, while allowing ample space for his accompanists to contribute. Thus, something like the always engaging ‘Off the Wagon’ opens with a nicely balanced tenor solo, before Riedel and Hallberg get their say. ‘Autumn Leaves’ is flute all the way and is quite magnificent, underlining, as if it was needed, that Hayes’ secondary instrument was invariably rewarding too. Hallberg has harmonic awareness to spare, every extemporisation jewel-like and pin-perfect. ‘I Thought About You’, taken at ballad tempo, is similarly pleasing, the tenor ebbs and flows like a master class in the exploitation of a melody's potential. For all the allure of his one-time ‘hurricane force’ playing, sometimes less is more. The Abeleen Trio session, made some 10 months on, lays the tenor aside, and concentrates on flute alone, the first of their two numbers ‘Someday My Prince Will Come’, in three-four tempo, Abeleen more percussive and bluesy than Halberg, NHØP and Riel tucked in behind. Here again, Hayes belies his health shortcomings, playing with vigour and a run of stimulating ideas, sometimes growling across the mouthpiece, fully in charge, again making time for his accompanists, especially the overly-loquacious NHØP, to play. A mere six months later, Hayes was gone. Don't miss this.