In the land of contemporary jazz, too many albums are grounded upon unchallenging spurts and undestroyable solos that don’t mean a thing (even if they got “that” swing). Locating a recording that calls for more than the single mandatory listen is getting harder by the hour. But The Detour Fish – though not belonging to the “turning point” category – managed to escape the “archived after the first round” destiny. Its compositions are adequately changeable, both thematically and rhythmically. The moods range from deeply pensive to dissonantly high-spirited, comprising intermediate stages revealing the quartet’s chamber-like sensitivity. A propos of this, the instrumentalists are a pleasure to enjoy. Santos Silva emerges from the mix with trenchant phrases from which all residual fats are expelled in resolute composure. Ottervanger’s pianism may be rooted in some kind of tradition but remains thoroughly non-rhetorical. Van Pée and Segers create a vibrating flow and the necessary spaces to sustain an orchestral whole that acquires a honest meaningfulness with each subsequent spin.