Bassist Eivind Opsvik is emblematic of a generation of jazz musicians who combined a deep investment in the tradition with a roving interest in other genres. For the Oslo-born, New York-based Opsvik, this could mean being a first-call upright bass side player with the great Paul Motian at the Village Vanguard, but also making left-of-center electronica with Aaron Jennings on such releases as Lune and Commuter Anthems, or vocal and multi-instrumental art-pop on his 2021 outing Emotional Switches. The vision that Opsvik floated on his 2003 debut, Overseas, lands somewhere beautifully in the middle: a band that could swing, groove, create soundscapes, play atmospheric and melodic pop, or freely improvise—combining saxophone and piano with Hammond organ, Rhodes, less familiar percussion, and other patchwork elements. The specifics have shifted and evolved over the course of six Overseas albums to date, most on his own Loyal Label (including the double Overseas Live, 2002-2012). Opsvik’s writing for Overseas has a piquant lyricism and an almost vintage, collage-like quality. His bass-playing is still prominently featured and impeccable (hear the solos on “Earthly” and “Prelude”). There’s an uncanny juxtaposition of indie-pop gentleness and avant-garde jazz sensibilities; the tenor saxophone solos of Tony Malaby stand out on tunes like “Redford” and “Italian Movie Theme.” Wells Hanley’s silky Rhodes chords propel “Ivandovich,” while Jacob Sacks’ piano and Craig Taborn’s organ make for inspired interweaving in many spots. Loren Stillman’s alto saxophone, Jason Rigby’s soprano sax (and earthy bass clarinet on the closing title track), the drumming of Gerald Cleaver and Jeff Davis, the subtle tabla of Dan Weiss on “Earthly”: Overseas is a grab-bag of color and sonority, unfolding in a cohesive narrative. Props should go to the Barcelona-based Fresh Sound New Talent label for launching the Overseas band, and many others.