Richard Andersson with Rudi Mahall, Artur Tuznik and Kasper Tom: Monk & More

A versatile bassist whose work encompasses everything from lyrical Nordic jazz to more avant-garde projects, Richard Andersson has drawn heavily from the talent pool in his native Denmark to help support his numerous releases. For Monk & More, he is fortunate to have alongside him bass clarinetist Rudi Mahall, pianist Artur Tuznik and drummer Kasper Tom, each of whom fits perfectly into an album deftly bridging the "cool school" of composers like Lennie Tristano, Lee Konitz and Jimmy Giuffre with the oblique bop idiom pioneered by Thelonious Monk.

Mahall's Monk credentials are impeccable, most notably displayed on Monk's Casino (Intakt, 2005), the landmark triple-disc effort headed by maverick pianist Alexander von Schlippenbach, which covered Monk's entire corpus. Mahall's deep understanding of Monk's distinctive language permeates Andersson's release as well, as even on the Tristano-composed opener, "317 East 32nd Street," Mahall's excitable bass clarinet leaps put a Monk-like stamp on the piece. Konitz's "Subconscious-Lee" and Giuffre's "Four Brothers" have similar spunk. The former sees Mahall's bouncy upper-register frolic supported by Tuznik's punchy comping (not to mention a superb, rangy solo as well) and the rhythmically nimble assistance of Andersson and Tom. Giuffre's piece has an even more energetic verve, as Mahall takes up the conventional clarinet for an inspired romp which includes some sprightly sparring with the rhythm section on the last portion of the cut. There is an Ornette Coleman composition as well, "The Blessing," given a searching and sympathetic reading by the quartet.

As strong as these pieces are, there is no question that the Monk material is what heightens the album's value. "Brilliant Corners" races out of the gate even before going into its double-time section, as the four players seem barely to be able to contain its heady momentum. Mahall brings his masterful technique to bear on the piece, with the "ugly" notes mingling nicely with the lovely ones to capture Monk's Janus-faced spirit. "We See" gives Tuznik a chance to showcase his formidable chops with some impressive two-handed work during his solo, while Mahall's darting upper-register feints enliven the track, leading to a spry Andersson solo along the way. The quartet is in perfect sync for "Trinkle Tinkle," with the rhythm section punctuating Mahall's runs and exclamations expertly. And "Ask Me Now" has all the tender reserve needed to highlight the beauty of the tune, and Mahall takes advantage of an unaccompanied solo at the end of the track to give the piece added poignancy.

The album ends with Monk's "Pannonica," and the quartet makes expert work of the song's insouciant stroll, as Mahall once again honors the integrity of the tune while pushing it in his own distinctive direction. Far more than just a tribute album, Monk & More features a strong quartet with an undeniable chemistry, and it offers a stimulating engagement with a wide swath of the jazz tradition.