We first came across the Denmark-based Norwegian drummer Kirk on an earlier Stunt issue and noted in Jazzwise 267 his combo's mainstream inclinations, the band's style and approach is influenced by Ellington and Basie's small groups.

All 10 compositions on this new album, his seventh, are by Kirk, and retain these initial influences, the addition of Kjølby's rhythm guitar and a change of tenor player merely consolidating the way they play. It's Ellington, or Johnny Hodges to be precise, who comes to mind first on the opening 12-bar, with Hjorth's tremolo piano introducing the Hodges-style blues riff that just seems to run and run, the tenors trading ideas, the American Riley breathy like Ben Webster.

The title track then evokes the celebrated Ellington-Blanton duets, with bassist Fjeldsted topping and tailing things admirably, Hjorth suitably Ducal and Riley sounding more like Paul Gonsalves. ‘Bring Me Home’ recalls Sy Oliver's catchy ‘Yes, Indeed’ and is probably the meatiest piece on the album, with Blicher the harder-edged of the tenorists soloing well and the piece generating a decent ensemble push. ‘One Late Night’ is mostly Riley, his whispering sax quite ethereal, fluttery, and plaintive.

If a couple of Kirk's ballads seem too laid back to engage one's attention for long, his ‘Easy Roller’ emulates the Basie rhythm section well and re-builds interest with Blicher husky on alto and Hjorth briefly Basie-like. ‘Boogie Rider’ keeps the Basie approach, swings hard and then suddenly cuts out.

Had the album's meagre playing time (38 minutes) been extended and the soloists livened up more, there might have been a fourth star.