Two of the greatest talents on the Danish jazz scene, crosses here sounding with two experienced jazz musicians from New York. It is bassist Morten Haxholm which is at the front of the Quartet. He has written all of the music. Haxholm has not made the big care of himself in public yet. In the last few years he has also been busy with the studies in the prestigious soloist line at the Rhythmic Music Conservatory in Copenhagen. Along with saxophonist Frederick Menzies, he has been in New York, where he, along with Ari Hoenig on drums and the incomparable guitarist Jonathan Kreisberg has recorded a strong debut album. This is jazz that makes demands on the individual musician. Haxholm has not taken the easy things. He has made a number of compositions that do not please the musicians but forcing them to play their best. In notes he writes to the plate number Cruithne, that in B-piece alternates between 7/4 and 5/4 and adds that he loves the uneven bars. For the jazz listener that does not count anything, when your ears are open, only one interesting by-product. It works incredibly well. The inter-action in the Quartet is sovereign. Menzies is a saxophone player, we certainly will hear much more in the future. He has no problems with playing up to Kreisberg's-driven guitar playing. It is, however, Morten Haxholm, that is star on the album. Several of the compositions -for example. Giacometti and Ezra- are simply very strong and interesting. Haxholm’s playing is authoritative, he controls the beat. It is an impressive debut album. He starts out with jazz, that smells of New York-not only in style but also in the talent and charisma
Niels Overgaard, Jazznyt
Bassist Morten Haxhold leads a team that spotlights guitarist Jonathan Kriesberg as well as bandmates Frederick Menzis/ts and Ari Hoenig/dr on this collection of post bop originals and treatments of standards. Menzis’ tenor is firm and confident on the lovely rendition of “Out of Nowhere” and the trickily metric “Giacometti” which has the band setting up an obstacle course for which the sax and guitar jump leap and veer around. A few of the tunes are trio works, and actually serve as a highlight, with Kreisberg’s suave lines working well on a rocking “Night and Day” as well as a ruminating “Unseen.” A nice mix of relaxed spaciousness and assertive energy.
George Harris, Jazz Weekely
