This is an, err… enchanting disc of Grieg’s choral music – both original and arranged for choir. The opening, resonant, full bodied choral arrangement of the popular “At Rondane”, op.33, No.2 (originally for voice and piano) is plain gorgeous in its moody way. Two religious songs were prepared for mixed choir by Grieg himself of which “Withered, Fallen – At the Bier of a Young Wife” sounds a bit predictable, but touching in its cathedral-like piety. In this song, as in “Ave, Maris Stella” or indeed most of the other works on this glorious sounding (multi-channel/stereo) hybrid SACD, the non-Norwegian ear will always pick up a certain preciousness, that silver-voiced, Christmas-choir touch with scents and touches of mulled wine, snow boots, and blond locks under a woolen hat.

“Margaret’s Cradle Song” op.15, No.1, a short gem some 90 seconds long, was written in appreciation of the birth of his daughter Alexandra in 1868. It is set to the Ibsen poem of the same name and hauntingly beautiful. Alexandra, however, never got to appreciate her song; she died shortly after it was written. (Which is tragic and yet, given that it was set to something by Ibsen, also so terribly appropriate.)

Grete Pedersen, who conducts the Norwegian Soloists’ Choir also sets the first of the Lyric Pieces op.71 “Det var engang” for mixed choir. It might be the only miscalculation in that the result sounds nice and pleasant but also — in its dum-de-dum new-agey way — cheap.

Norway was already an independent nation when Grieg composed the 1907 Four Psalms op.74, his last work. It’s a somber end to his musical output – with “Jesus Christ is Risen” being an especially austere, if moving, setting of this Hans Adolf Brorson text. The four psalm settings are based on a collection of Norwegian “newer and older mountain tunes” that Grieg wanted to help preserve with his musical adoption. He has achieved that all over again by having them included in this very fine reminder that Grieg is so much more than the Grieg of a certain mountain king’s hall, or of lyric pieces, or a piano concerto.

-- Jens F. Laurson, WETA 90.9

Along with label mates Mike Moreno and Adam Rogers guitarist Lage Lund is one of the most distinctive guitarists on the current scene. His previous three Criss Cross dates have established his credentials as an up and coming talent of great promise. For his latest effort, he brings back to the fold his close associates Ben Street on bass and Bill Stewart on drums, both heard on Lund's previous sets, Foolhardy (CRC 1360) and Unlikely Stories (CRC 1321). The difference this time is that he forgoes the piano accompaniment for a bare bones trio approach that is quite refreshing and a further step forward. The mix includes a few originals and a nicely chosen selection of standards, including the iconic Bobby Hutcherson piece Isn't This My Sound Around Me.

In 2021 Criss Cross owner Jerry Teekens called to ascertain Lund's interest in making another album. For Lund, 45 when the Most Peculiar session transpired in June 2022, the offer was an opportunity to reunite with a band he launched in 2014. Pianist Sullivan Fortner (35) and drummer Tyshawn Sorey (41), both among the most gifted practitioners ever to improvise on their respective instruments, contributed their unique mojo to Lund's 2019 Criss-Cross release, Terrible Animals. Virtuoso bassist Matt Brewer (39), played on Lund's first leader date in 2006, had Lund play guitar on his own Criss Cross debut (Mythology-Criss 1373), and recently played on a Lund trio covers recital. The Album was recorded June 17, 2022 at the Samurai Hotel Recording Studio in Astoria, New York. Recording engineer Mike Marciano also did the editing, mixing and mastering at Systems Two Studio in New York. Photography by Anna Yatskevich.