In what appears to be the first of Creed Taylor's attempts at assuming the mantle of record industry mogul (not unlike Herb Alpert), CTI entered into a relationship with the Swedish Metronome label in 1972. The deal allowed the distribution of American CTI titles in Sweden - where there was already a thriving jazz audience and an especially artistic jazz community - and, in return, allowed the fruits of Swedish Metronome productions to be distributed by CTI in the United States. 

In America, the deal seems to have resulted in only three releases, all by Swedish flautist and composer Bjorn J-son Lindh. CTI Americanized his name somewhat for the first two releases as "Jayson Lindh" and while he was a good fit for CTI - standing along side such similarly multi-talented CTI stable mates as Hubert Laws and Jeremy Steig - Lindh elicited a particularly interesting and appealing musical amalgam that meshed jazz with funk and middle-eastern with the middle ages. 

Although Lindh recorded actively after the dissolution of the Metronome-CTI relationship, his music and his recordings (which have been sampled heavily in recent years) remain too little known outside of Europe.