Highlights the jazz orchestra in a way that this virtuoso ensemble is rarely seen - in the role of spontaneously 'co-composing' musicians.
Jakob Levinsen, Berlinske Tidende, Denmark



Blue Spring, opening.


Winter Oranges featuring Vincent Nilsson.

Featuring The Danish Radio Jazz Orchestra conducted by Graham Collier
Anders Gustafsson, Benny Rosenfeld, Thomas Fryland, Henrik Bolberg, Knud Erik Nørregaard (trumpet, flugelhorn)
Vincent Nilsson, Steen Hansen, Kim Aagaard, Annette Husby (trombone)
Axel Windfeld (bass trombone, tuba)
Michael Hove, Nikolai Schultz, Uffe Markussen, Tomas Franck, Flemming Madsen (saxophones etc)
Nikolaj Bentzon (piano)
Thomas Ovesen (bass)
Anders Chico Lindvall (guitar)
Søren Frost (drums)
Ethan Weisgard (percussion)

‘It was a great pleasure to work with the Danish Radio Jazz Orchestra again after a gap of many years. Many of the musicians were new to me, but some had been in the band when I worked regularly with them in the 1960s and 70s. Present in the audience at the second concert we played together - sadly not recorded - was another member of those early bands: the great bassist Neils-Henning Ørsted Pedersen, whose untimely death in 2005 was a great shock to us all.’
(From the liner notes to the CD)

Recording History
Recorded live at the Copenhagen Jazzhouse, November 2000
Released on CD by Jazzprint 2002
Mixed and mastered by Tom Leader of LCL Digital
Reassigned to jazzcontinuum, 2009

The Tracks
Three Simple Pieces, Part One and Part Three,
Winter Oranges Suite
Blue Spring
Eggshell Summer
Tinted Autumn
Winter Oranges.

The Jazz Ensemble’s versions of Three Simple Pieces, Part One and Part Three can be heard on The Third Colour.
A new version of Eggshell Summer can be heard on Meltdown (
SLAM), recorded by George Haslam’s group of the same name, where it was described as ‘a slice of fragile nostalgia, an evocation of something evanescent and on the point of vanishing, his characteristic harmonic subtlety put to quietly dramatic use’. (Penguin Guide to Jazz Recordings, Ninth Edition.)

Some Reviews
The radio Big Band wholeheartedly identifies themselves with the improvised method of composition, which Graham Collier is practising with considerable success. The result is a musical journey, which changes between intense eruptions and oases breathing vegetative calm.
Boris Rabinowitsch, Politiken, Copenhagen

In Winter Oranges Collier was a very authoritative and experienced leader of the orchestra, which responded to this technique and left the conductor free to bring out their strengths.
Erik Wiedemann, Dagbladet Information, Denmark

Through the years Collier has consistently showed an affinity for nuance, color, and texture without sacrificing the emotional spontaneity that is at the heart of Jazz, somewhat in the vein of Gil Evans. Collier continues to hone his craft, and the results here testify to his past achievements and continued creativity.
Steven Loewy, All Music Guide

A colourful expressive series of interweaving, interlocking musical lines that reject the old big band divide of soloist and ensemble in favour of a much more fluid, generous musical expression. With musicians of this calibre to hand, the result is a strong work that grows in stature with repeated listening.
Simon Adams, Jazz Journal InternationalThe quote in the subheading is from Jay Collins, onefinalnote.com

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