One of the wonderful attributes that pervade the current Scandinavian “jazz” scene is the ability of its musicians and composers to disregard musical boundaries and cross fertilise genres and sounds. The Hubro label is certainly at the forefront of this movement. Accordion player Frode Haltli and his collaborators continue along this road less travelled on his latest offering, 'Avant Folk'. Together they infuse a mixture of traditional folk song and new compositions with layers and textures that not only surprise but delight. The hardanger fiddle of Erland Apneseth is recognisable, but add in Hildegunn Oiseth on goat horn, Stale Storlokken on harmonium and Rolf-Erik Nystrom on saxophone then you know something magical is going to be happening. Juhani Silvola and Oddrun Lija Jonsdottir play guitar, while Fredrick Dietrichson and Siv Oyunn Kjenstad add double bass and drums. This band stretch the music out into new territory adding fresh textures to the music in unexpected ways. Take 'Kingo', for example. At just over ten minutes long, 'Kingo' is based on an old hymn from the Faroe Islands. Accordion and harmonium improvise over an insistent tribal drum beat. This ritualistic feeling grow into a hypnotic groove over which the fiddles playfully sing. At around four minutes. a superb guitar solo is introduced before Haltli counterbalances the percussion with some intricate accordion interplay. At seven minutes, you would be forgiven for thinking you were listening to 'Meddle' era Pink Floyd improvisations with added Ornette Coleman. Terrific stuff. Elsewhere opening track 'Hug' has an airy open feel in a contemporary waltz style that is full of joy and light. A beautiful trumpet solo from Hildegunn Oiseth is a highlight as the track concludes. Throughout 'Avant Folk' there are threads of folk and chamber music. Jazzy inflections hold hands with a fusion of African blues vibes in what is a truly innovative collection. 'Trio' is a haunting lament echoing deep forests and forgotten pathways, highlighting violins and fiddles and an empathic bass contribution from Dietrichson. An album of just five tracks closes out with the mysterious 'Gratar’n'. Dark and brooding electronics and improvisations create an unsettling atmosphere before a lovely violin melody lightens the mood before the epic final offering 'Neid'. On this final thirteen minute composition all the attributes of the previous tracks appear to join together to create a beautifully mini-symphony. Aesthetically pleasing in every way the opening fiddle interplays with Haltli’s shimmering accordion. The fusion of styles and influences join together in a graceful harmony rarely found these days. Another tasteful guitar solo appears halfway through as this track gently unfolds into a Balkan-sounding groove before fading into the Norwegian night. 'Avant Folk' is simply a timeless wonder.