A series of strange deaths takes place in London. All are accidents but the victims are single men with no family and they all have a link to a life insurance company run by the mysterious Dr. Orloff.
Wealthy, heavily insured men are being murdered at an alarming rate. Scotland Yard investigates and finds clues that lead to a ring of blind men, led by a mysterious "reverend".
Polish trumpeter Tomasz Stanko has forged a distinguished international career, through work with Krystof Komeda, Cecil Taylor, Jack DeJohnette and David Murray and as a celebrated solo artist. His obliquely beautiful tone encapsulates a spacious approach to everything from folk to free jazz, best heard on his many fine albums for prestigious German label ECM. Here he presents his new Scandinavian Quintet that adds Anders Christensen on electric bass and Jakob Bro on guitar - joining Alexi Tuomarila on piano and Olavi Louhivouri on drums - to create a tougher, edgier sound palette for Stanko to explore. Performing darkly cinematic music from Swedish playwright Lars Noren's play Terminal 7, alongside other mysterious and evocative new music, this marks a new creative chapter for one of Europe's most compelling jazz artists.
This is possibly pianist Geri Allen's most advanced release. […] Allen performs three atmospheric piano solos, including a version of Ron Carter's "Little Waltz" […]. There is a duet with percussionist Cyro Baptista, two duets with altoist Ornette Coleman (who through the years has almost never recorded as a sideman), and four numbers in which Allen is joined by her husband trumpeter Wallace Roney (two of which also include Baptista). […] The music is mostly avant-garde, but purposeful and logical in its own fashion. Well worth several listens. ~Scott Yanow, All Music Guide
From the very first cut here, "The Lover of Beirut", Brahem's fascinating blend of traditional Eastern-flavored tonalities and his very jazz-like sense of free rhythms mix, in an astonishingly instinctual and intimate way, with Gesing's moody clarinet, their melodic lines at times doubling before breaking free to bend and swerve off into a melodic maze before slowly returning to their intricate Byzantine dance.