Larsen is indeed a brilliant musician and composer. And his instrument shows to the best of its advantage especially in 3/4-time... 

....the composition "Trekosten" has both the lightness and charm of the French waltz as well as the particular tone of Nordic melancholy..... 

....it sounds even deeper in the two moving duo pieces in interplay with the pianist Nikolaj Hess.. 
....the bass player Jesper Lundgaard and the drummer Aage Tanggaard are responsible for the brilliant accompaniment which, particularly in a tune like "Silent song", is as exquisit as at all imaginable.... 

..."Dagen Går Ind" which Larsen plays unaccompanied is absolutely unique. Herein he strikes an atmosphere which comes near to the art of the Argentinian bandoneon player Dino Saluzzi.... 
--- 
The Accordion player Kurt Larsen's CD "Nuages" ought to be a sensation - if it was not because the music is so simple, sincere, and convincing that big words become superfluous. Both Larsen's playing and his compositions are expressions of a personality to whom it neither musically nor instrumentally is a question of 'translating' for instance French Musette-tradition or light Scandinavian melancholy to jazz accordion... 

....Larsen just happens to play the accordion and the tones reflect equally his instrument and his approach as a musician - a melodic expression with the dream under control in his tender sound... 

....It is no less than a great CD, which even if it clearly belongs to the jazz category probably will have a much wider appeal - including, hopefully, also those who may still have reservations towards the accordion... 
--- 
CD "51" 1994:  

The compositions of Kurt Larsen show the same qualities as his accordionplaying: 

--- 
Kurt Larsen "51" 
(Cadence - dec. 1995) 
The accordion is such a difficult instrument to like. As popularly played, it's a big wheezy box with a relentlessly chipper sound. This may serve it well in popular dance musics like the polka, zydeco or Brazilian foro but it seems incapable of conveying deeper emotions or delicate shadings. In the hands of Kurt Larsen, however, none of these detriments are apparent. Larsen's instrument breathes instead of wheezes. His linear improvisations flow with a naturalness and grace. One of his best solos is on Wintertime, a Bill Evans-ish waltz with a fluid, melodic solo. But Larsen can also cut loose with an almost funky solo on The Goose Walk, a track that souns like a New Orleans second line strut. 
Larsen's quartet backs him with strength and sensitivity. The one aspect that's questionable is the presence of vibist Kaare Munkholm whose clangorous instrument clashes with the accordion's sustained sound. Oddly enough though, the pair is best featured on the accordion/vibes duet Duo Vib. "51" may not be everyone's cup of tea. Some may find it effete but to these ears it's refreshing, unpretentious and it swings. 
 - Robert Iannapollo 
 
 

Erling Kroner Dream Quintet: (read the full version at Erling Kroners homepage) 

Though lacking the edge of the bandoneón-players (the accordion of) Kurt Larsen excellently fulfills its role as the binding factor between the rhythm players and the horns.... 

Milas has an intimate conversation between Kurt Larsen's accordion and Saluzzi's bandoneón. The sounds are left flying around the room and everything turns into an intriguing musical journey......... 

The music is very dramatic, strong emotions filtered through an expressive tonal language, concretized beautifully and vigorously in Kroner's robustly expressive trombone playing and Pernille Bevort's electrifying soprano, sometimes pared with Kurt Larsen's eloquent accordion playing..... 

Add to that the two Argentines, Quique Sinesi on guitar and Saluzzi, who to some extent takes over the role of Larsen, but also meets the latter in an accordion / bandoneon duet in the Mingus-sounding "Milas"....... 

 ......from the JAZZPAR price-award this year, where one also gets a chance to compare the distinctions in sound and expression between Kroner's fine Danish accordion-player Kurt Larsen and his Argentine colleague....... 

the JAZZPAR CONCERTS 1998 
Guess who ran away with it all? Nobody else but the 'supporting act' Erling Kroner's so called dream-quintet, for the occasion augmented with two South-American soloists, guitar-player Quique Sinesi and bandoneón-player Dino Saluzzi. Kroner's almost hour-and-a-half long first part of the concert consisted of ten original compositions and arrangements by Kroner, who once again proved to be in a class by himself with densely emotional music, encompassing richly varied tempos of an enormous rhythmic elasticity (special thanks to bassist Jesper Bodilsen and drummer Henrik Simonsen) and  daring sound-colors, where extremely talented Pernille Bévort on tenor- and soprano met Erling Kroner's expressive trombone and Kurt Larsen's sparkling accordion-playing in exquisite interplay with Quique Sinesi on guitar and virtuoso Dino Saluzzi on the accordion-like bandoneón. It was an amalgam of the Argentine tango, the American blues and midnight-blue big city jazz meshed in a host of varied rhythms. 

Also Kroner's integration of the Argentine musicians into the Danish quintet was admirable. Let me point out especially the confrontation of Danish accordion-master Kurt Larsen with Saluzzi, the soundscape between these two and Pernille Bévort's soprano.......... 
Yesterday's 'world-premier', as Kroner with unquestionable logic presented the first public performance of the quintet, offered elastic rhythmic, melodical and sound-wise varied and constantly extremely catching music. It is quintet-music that doesn't sound like anything else in these parts, not in the least because of the refined accordion-playing of Kurt Larsen, which was beautifully integrated in the overall picture 

At the same time it was something of a 'coup' yet so self evident to use Kurt Larsen's nuanced accordion, from  trembling desperation to raw body-power and, like in  Kroner's own, particularly expressive playing, covering a wide spectrum of moods...... 
 .....You experienced a group with a sound all its own. A very personal color. Not in the least Kurt Larsen added to that. His command of sound and dynamics was singular, and his solistical endeavors were an exquisite joy..... 

The duo with Kroner's trombone and Kurt Larsen's accordion  in Carlos Gardel's tango 'Volver' with a sensuality to be felt in the corners of the eyes and the guts....... Astor Piazzola's 'Adios Nonino' with a.o. Kurt Larsen's vibrantly, passionate playing.......