" data-original-title="" title="">Jean-Luc Ponty-esque syncopations to greater fire bolstered by an overdubbed violin, gradually creating defined harmonic shifts initially implied by his linear phrases. On "Mariam," Kvernberg layers the lyrical theme over a spare, strummed series of mandolin chords, but when he takes off for his solo, the song's changes are more explicitly driven by Raknes, who retains a soft pulse with Nylander's brush-driven work to again provide Kvernberg the opportunity to build a solo that's a combination of motivic consideration and barely unfettered extrapolation.

In a world of piano, organ, guitar, and saxophone trios, violin trios are hard to come by, but why that's so is a good question. While not as expansive a chordal instrument as, say, piano or guitar, the violin has enough ability to do more than merely suggest harmony to create a full-sounding trio. As much as Kvernberg uses judicious layering of violin and mandolin to create explicit harmonic substance, the trio is fully formed even when pared down to its basic components. Kvernberg is a virtuosic player who rarely lets everything out of the bag, but on the opening to the fiercely swinging "John," in duet with Nylander, both show just how much they're capable of. When Raknes enters, the tune takes off; a time/no-changes modal piece providing everyone the opportunity to shine both individually and collectively.

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