There has always been a certain ironic pessimism to the Espen Eriksen Trio’s output, never better reflected than in the group's choice of album titles. With names such as You Had Me At Goodbye (2010) and Never Ending January (2015) matched with artwork that features equally acerbic watercolours by artist Kim Hiorthøy, the dry brand of humour which Eriksen and his troupe have concocted throughout their work together routinely suggests the kind of sardonically dour mannerisms one may come to expect from this most surprising of ensembles.

Earlier this year, the leader and pianist revealed in an edition of Jazzwise that for him and his group, it has been a constant uphill battle: “When it comes to a career, it still feels like we’re taking one step at a time,” Eriksen told Stuart Nicholson, “[...] to build something of our own that feels good.” But this long march to victory is a deliberate and carefully calculated one, however, and not simply the result of mismanaged musical discretion. In prioritising an empathetic understanding of each other’s creative needs, the group’s thoughtful self-direction would end up paving the way for the unexpected inclusion of their newest member.

Andy Sheppard, British by origin but international in his professional scope, has made a name for himself over the years as a raconteur of intentional understatements. His style is one marked by restraint, his trademark reserve remains his signature throughout multiple appearances on albums alongside Carla Bley & Steve Swallow, as well as his own myriad of recording projects. That’s not to presume he hasn’t all that much left to say, however – far from it! Having aged like a single-malt whisky, the saxophonist’s arrival into the world of EET came with the double-edged Perfectly Unhappy (2018). If extensive touring plus a handful of live credits on the recent In The Mountains (2022) are anything to go by, their marriage has been a fruitful and happy one indeed.

As Good As It Gets marks the latest chapter in the trajectory of a group who have been in no rush to grasp at any quick shots at success – opting instead for a steadier and, ultimately, more rewarding route. The trio’s augmentation into a bona fide four-piece is a telling example of this mindset, the satisfaction derived from which can be felt throughout the duration of this auspiciously-titled album. From its infancy, EET has developed a sound immersed in that delicate softness only Scandinavians seem to conquer, one that carefully balances melodic impulses with a European gentleness thus achieving the group’s initial piano-trio brilliance. So, having found their Garbarek, is it safe to assume that their characteristic winter storms have passed in favour of sunnier spells?

Well, from their catchy hooks to uplifting riffs, a change in the weather most definitely seems to be the case for this burgeoning acoustic quartet. From the album's opening bars, Eriksen’s keys are soaked in a ghostly reverb which provides an otherworldly effect. Sheppard has plenty of fire in the belly, lending an unshakeable sense of pomp to the melody lines he shares with the pianist who, in turn, embellishes them. There’s still an audible abundance of space, however, with the amount of ample room left over almost reaching cavernous levels at times – but never at risk of an overwhelming capacity. We have the rhythm section of Jenset and Bye to thank for keeping things grounded whilst simultaneously remaining, themselves, weightless; their successfully light structure a testament to the quiet strength of the ensemble as a whole. By their own admission, this foursome has never felt more secure. With tunes and ballads as charming as these, the majority of which already feel timeless, we can’t help but agree.