Audiopile Review: Independent jazz imprints RR Gems and Ultraääni have a lot of crossover appeal for connoisseurs of contemporary jazz, the two labels trading off releases between like-minded acts in an inspiring display of mutual love and appreciation that conjures the communal spirit of independent jazz labels of 70 years ago. After the two labels both released albums from Organic Pulse Ensemble in a short span (his new one also out this week), RR Gems releases the long-awaited second album from Ville Lähteenmäki Trio, who initially made a splash on Ultraääni with their 2022 debut, now burned through several pressings due to demand. While these two labels (and the closely related Jazzaggression) have largely been dealing in the crossover modal/spiritual jazz acts from the Baltic and Nordic zones, Ville Lähteenmäki Trio is one of the new leading lights in that interconnected area’s free jazz scene. While it seemed that the trio may have been a one-off after the lengthy wait since their debut, a not uncommon occurrence within the freely moving scene, the trio have been harnessing their fiery skills in the years between. Besting that debut, the trio, led by the clarinet and flute of the group’s namesake, rip through everything from full bore sonic skrees, zones of bucolic pleasantries and lathered-up acenstral grooves, all three members seemingly connected at their musical third eyes through the improvisational outpouring. Some seriously special business captured here, and not to be missed if you snagged their now beloved debut.

Yes; yes; maybe—who cares? Free Jazz is (in my definite opinion) the last bastion of music (and maybe even art as a whole) where true innovation is not only still possible but also extremely well-executed—if done right.

Enter “Second Sight” by Oslo’s Ville Lähteenmäki Trio. The lineup is the same as it was on their blistering debut album, aptly named “Introducing” (though “Fire” would have been just as fitting). Whereas some ensembles attempt to stick to a script, for whatever reasons they might have, Ville Lähteenmäki Trio builds on their innovative debut—dialling both creativity and musicianship to 11. The bass clarinet still is the prominent voice here, as is evident on the opener, “Commencement,” unleashing Lähteenmäki’s signature rapid-fire approach that highlights both the energy of the instrument as well as the deep connection it shares with Ville.

This is not to say that either Leirtrø’s contrabass nor Karlsen’s drums are mere background music: the latter’s drumming is non-rigid and fluid, whilst setting the foundational structure. Leirtrø’s bass is a refractory combination of masterful spontaneity and incisiveness. Emphasis on all three.

The rollercoaster ride of modern avant-garde Jazz continues throughout the next three tracks—each brimming with emotion and nods to the masters (“Shadow People” has Mingus, La Faro, and Hayden frantically taking notes from above); meditative exercises in ingenuity and creativity (highlighted in an almost modern blueprint fashion throughout “In The Void”); to pleasing folks who are chasing that next polyrhythm and spiritual high (“Queen of Hearts”).

This is one of the most exciting Free Jazz / Avant-Garde ensembles of our time, turning this track into a Tour-De-Fjords of everything fiery, exciting, and at times provocative music. The trio ebbs and flows effortlessly on this sonic rollercoaster—making “Second Sight” one of the earliest blueprints of 2025 for modern Free Jazz.

There is a reason that Ville Lähteenmäki’s Trio gets mentioned and recommended more and more: when side B has finished, your first thought will be to turn the record back on side A to start this incredible journey all over again. And while you will have heard the first bars a mere 34 minutes ago, you are guaranteed to hear hooks and feel enthusiasm for this body of art that wasn’t there the first time.

These Norwegians know what they’re about, and it shows throughout this masterpiece.