Eick’s Skala

If more than two musicians played a bar of music in the same room together while the programmers were assembling Lady Ga Ga’s latest album on a hard-drive someplace, it was probably a fortuitous accident. In contrast, the five weeks Norwegian trumpeter-multi-instrumentalist Mathias Eick spent in the studio for his latest CD would be relatively short by pop standards, but could be considered the equivalent of several years in jazz time. Yet, Eick’s distinctive trumpet voice happily remains front-and-center throughout the resulting Skala, now available from ECM Records.

As soon as the opening title track begins, listeners get a sense of the duality of Eick’s music, as his exquisitely burnished (almost classical) trumpets rings out over a funky backbeat. Yet, the aural backdrop never sounds busy, leaving plenty of space for sensitive solo statements from leader and tenor-saxophonist Tore Brunborg, an increasingly familiar name to those who follow Manfred Eicher’s label.

One of two tracks named after cities, the following “Edinburgh” (the site of its composition rather than a direct inspiration) is a perfect example of Eick’s cascading music, ranging from a soft growl to rich clarion call. Similarly, while “Oslo’s” intro is marked by spacey distortion, it eventually locks into a hypnotic groove that would turn hardcore trance heads. Yet, Eick’s remarkable tone and eloquence on his primary instrument are in evidence throughout the track.

A tribute to Joni Mitchell, aptly titled “Joni,” is perhaps the session’s most “radio friendly” track, in considerable measure due to Vince Mendoza’s stirring arrangement, inspired by the singer-songwriter’s “Both Sides Now.” It also features some virtuoso work from pianist Andreas Ulvo and the leader doubling on vibes, adding a lush texture to the dramatic mix.

Though deceptively modest in title, “Epilogue” is a perfect summation for Skala, steadily building from a contemplative prologue into a muscular jazz-rock dynamo, appropriately representing the various “fusions” at play throughout the album (jazz & electronica, music & technology, improvisation & studio assemblage, etc.). However, even with all the loops and distorting effects, Eick’s trumpet style always sounds engaging—frankly even welcoming. As a result, Skala continues to grow and ingratiate itself with frequent repeated listening. A compelling record of Eick’s musical development, Skala is another highly recommended release from the eminent ECM Records (widely available at surviving music retailers).

(Photo: Colin Eick © Mathias Eick 2011)

Eick’s Door

The Door
By Mathias Eick
ECM Records 2059

A debut release should be a happy occasion, but in this case it is also a reminder of something lost. At the 2007 IAJE convention, Norwegian Mathias Eick was awarded the IJFO International Jazz Award for New Talent, and performed the best concert of the show. Sadly, there will be no more IAJEs, but as consolation, his initial outing as a leader, The Door, releases today from ECM.

The opening title track is a good indication of the deceptive nature of Eick’s music. It starts as an open, spacious vehicle for the leader’s lyrical trumpet, but the rhythm section subtly locks in, until drummer Audun Kleive kicks the intensity up to a crescendo, only to fall off for a brief mournful coda from Eick.

Simultaneously stately and moody, “Cologne Blues” benefits from the supportive aural textures added by Stian Carstensen on pedal steel guitar, an instrument rarely heard in jazz aside from Buddy Emmons’ dabblings outside of his Nashville sessions. Together with Kleive’s spooky percussive accents and an inventively structured solo from Jon Balke on piano, it is an intriguing track. It also shows Eick’s range, from breathy vibrato to strong clarion high notes.

Having penned each track on The Door, Eick shows a tremendous facility for melody, like the hypnotically catchy “October,” which inspires a surprisingly swinging solo from Balke. Eick skips a month, following it with the impressionistically lovely “December,” a remarkably accessible example of jazz trumpet that should woe fans of Enrico Rava, Tomasz Stanko, and maybe even late pre-electric Miles.

“Williamsburg” is another haunting melody, but it never flags in energy, thanks to the strong pulse laid down by the rhythm section, particularly bassist Audun Erlien. It might feature Door’s strongest solo flights from Eick and Balke, again cutting loose for a playfully swing-centered statement.

With The Door, Eick suggests dualistic rhetoric: spacious yet rhythmic, lyric yet forceful, Nordic cool but swinging. It is a session that really pulls you in on initial listening, and then stays in heavy rotation in the CD changer. It turns out IAJE may not have been good with money (to say the least), but they did have good judgment in other areas. The Door represents a great start fulfilling the promise of Eick’s auspicious American debut at their final New York show.