The musical dynamic duo of Martin Rude and Jakob Skøtt released two incredible albums on El Paraiso Records back in 2020, The Discipline of Assent and The Dichotomy of Control. They were unlike anything either artist had released up to that point, combining Jakob’s jazz drum inflections and sci-fi effects with Martin’s precise and eclectic guitar and acoustic bass. The results felt like a cross between some dystopian western soundtrack and cosmic jazz improvisations.
Those records were far out and I was all in.
Now the far out duo has turned into a trio with the addition of Tamar Osborn on saxophone & alto flute. Rude Skøtt Osborn Trio have gifted us with the long player The Virtue of Temperance, a 10-song excursion into a sonic world where way out sounds meet psychedelic jazz vibes somewhere between dystopian desert sands and the furthest regions of space.
With Tamar Osborn’s seductive flute and Coltrane-esqe saxophone, the dusty sounds of Rude and Skøtt have been gifted a groove. There was groove before, but on opener “Infinite Element” it’s as if Mingus met up with Coltrane on the astral plane for some serious ethereal funk. This trio locks in from the get go and build to a far out crescendo. “L’Ombra Blu” sounds like Henry Mancini on acid with Osborn’s tasteful and eloquent alto flute, while Jakob Skøtt lays down a seriously slinky rhythm. Rude gives the proceedings a solid back bone with a great bass line. “Keep Up” feels like Miles at his most cosmic, locking into some serious Get Up with it vibes.
There’s also the dreamy wonder of “The Blue at the Horizon” and the mysterious sway of “Quiet Light”. Album closer “Belonging to the In Between” wavers in psychedelic haze, like heat rising from hot summer asphalt.
Rude Skøtt Osborn Trio’s The Virtue of Temperance is a treasure of sonic delights, building a mysterious sound world that combines elements of psych, jazz, dusty dystopian melodies, and just the right amount of cosmic dreams.