In Denmark we are justifiably proud of our jazz bassists. Almost all of them play in the same tradition; one can almost say they have created a Danish school in modern jazz. The large, elastic tone, the irresistible rhythmic drive, and the sensational ability to create daring and melodic extended soli. The royal list is long – NHØP, Mads Vinding, Jesper Lundgaard, Thomas Ovesen, Lennart Ginman, Bo Stief, Hugo Rasmussen, plus a few more – all of them world-class musicians. Yet there is also another reason to be proud of these bass players. Namely their humble attitude regarding both the music and the role as bandleader.

One can say that this humbleness is to be expected in a Scandinavian country – where personal modesty is often considered part of the national character – and also in general for players of an instrument which traditionally has not had a leading role in jazz.

Anyway, the appealing aspect of the Danish bass tribe is that its members – despite the admirable status which their instrumental abilities have given them – have first become band leaders at a very mature stage in their career. "The Three Giants" – NHØP, Mads Vinding and Jesper Lundgaard – have the ability to wait until they have something to say.

What’s new with Mads Vinding?

As with his previous release ("The Kingdom", with Enrico Pieranunzi and Alex Riel, - Stunt STUCD 19703) Mads places himself in the middle of modern jazz’ classic "chamber ensemble" - the trio, with piano, bass and drums.

He is again supported by the unrivalled Alex Riel on drums, and this time a pianist who is well suited in this connection – Roger Kellaway.

It is to Vinding’s merit that, first in Pieranunzi and now in Kellaway, he has found a musician where – in spite of the fact that their instrument and artistic expression automatically gives them a leading role in the trio form – there is plenty of space for the session’s leader, - the bassist.

As Vinding’s trio partners, neither Kellaway nor Riel need to suppress themselves. What we witness here is not only a Danish world-class bassist in full-flower, but also his ability to create a perfect musical balance around him.

Not as an expression for a kind of calculated democracy, but as a result of the personal emanation born of his enormous instrumental authority, experience and maturity. A maturity that includes both a consciousness of his own worth and a humbleness towards the music.

Here we have eight musical pieces – carefully selected standards and a couple of originals – which are played for the sake of the music, not as a showcase for the bass player’s bottled-up ambitions. This may well be Mads’ project, but above all it is a fine example of the art of interpretation – and great music!

Peter H. Larsen