As one of Norway’s jazz grandmasters, Andersen has covered vast tracts of sonic terrain in his long and illustrious career – his approach and sound shaped as much by Mingus and Pastorius as it is Frisell and Hassell. And despite being an early adopter of effects pedals and solo soundscapes, Landloper is his first solo bass album.

Mostly recorded live at Oslo’s Victoria Nasjonal Jazzscene, opener ‘Peace Universal’ was recorded at Arild’s home (an echo perhaps of the proximity of the Pandemic at the time) its bowed notes emanate from the depths like whale-song. The Mingus influence (which Andersen picked up as a teenager, hearing the great man play in Oslo on 12 April 1964), comes through on his weighty pizzicato plucking that cuts through the ambient layers.

His musical sensitivity extends to the repertoire too, which includes a medley of Albert Ayler’s ‘Ghosts’, a traditional Norwegian song, ‘Old Stev’, and his original ‘Landloper’ – the latter’s looped phases suddenly going double time and launching the bassist into some frenetic soloing.

A gorgeous take on ‘A Nightingale Sang in Berkeley Square’ lets each note hang weightlessly, the added underlying harmonic chordal movement impressive on the unwieldy double bass. The harmonics-driven ‘Mira’ finds Andersen wrapping resonant lines around the chiming pedal-point, while the closing salute to Ornette Coleman and Charlie Haden, on a medley of ‘Lonely Woman/Song For Che’, signs off this solo bass masterclass with atmospheric gravitas.