The Danish pianist Kathrine Windfeld has a burgeoning reputation around Europe as both leader and composer. This is the third album by her multi-national big band; in addition, she leads a sextet that performs regularly around Scandinavia and appeared here last year as a follow up to the well-received UK visit by this ensemble in September 2018.

Backed by plentiful support from home-land arts organisations, Windfeld's new album of eight original compositions mostly evokes her relationship with the sea, a not uncommon Danish fixation.

I'm trying to resist the idea that she is Denmark's equivalent to Maria Schneider but there are obvious similarities: a personal approach to repertoire, sudden shifts in musical moods and intensity, the skillful deployment of soloists and distintive voicings. All this is evident first on ‘Undertow’, the surging ebb and flow of the ocean mirrored in the writing, with quick motifs and rushing movements, Thueland's grainy alto surfing over an ostinato rhythm and Oseth's ethereal flugel heard over the piece's resolution. The title track reflects the essential grace of this ocean predator before the hurly burly of the chase as Løkke and Drasbæk close in on the kill. ‘Harvest’ is non-maritime, livelier but essentially autumnal in tone, Abelli's jubilant trombone perhaps signaling the end of the working day. Guest tenorist Bolla carries the weight throughout ‘The Lifting’ riding the ensemble's roller coaster moves with panache.

Here and there, Windfeld comes in, often to carry a theme or establish a rhythmic figure but also to solo, her interjections invariably pertinent. These pieces offer a compendium of possibilities; nothing is predictable, and much is startling, the orchestrations rich and invigorating, with the influence of Gil Evans occasionally seeping through.