At face value this is orchestral jazz. But as Smith showed on 2012’s magnificent Ten Freedom Summers, his approach to a large ensemble does not conform to the standard template of a series of solos over arrangements. Instead, the considerable resources of Helsinki’s 20-piece TUMO – which, with the likes of Iro Haarla, Juhani Aaltonen and Mikko Innanen in its ranks, is something of an all-star unit – are deployed with the kind of fluidity one might expect to find in a small group. For a start the configuration of the orchestra shifts almost relentlessly, and it appears that Smith hasn’t thought about ‘sections’ and how they can create recognizable harmonies. The lengthy, developmental compositions do not hinge on strict bar counts, and the magic is often distilled into fugitive moments. Sometimes it’s a harp or quartertone accordion momentarily flashing into life for no more than a few beats. Sometimes it’s the strings acting as low, weighty drones. Sometimes it’s the drums in polyrhythmic ignition. John Lindberg, one of Smith’s effective collaborators for over some 30 years, is the second soloist along with the leader and his deep, glowing tone greatly suits the stark but mobile density of some parts of the performance. Smith conducts for much of the 2-CD set but when he does improvise it is to startling effect, no more so than his open horn flurries on ‘The Bell-2’ where his broad, heraldic tone is vividly counterpointed by the growling, grainy distortions of two guitars. It’s also an important moment as it underlines the ruggedness, the guttural blues sensibilities that are deep within Smith’s personal history, regardless of whether he is perceived for the most part as an avant gardist. As with Smith’s previous release, the construction of Occupy is epic and the conceptual premise overtly political and humanistic. All of which is tied to a strong creative drive and sustained emotional charge that simply reinforce his status as a monumental figure in contemporary jazz.