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)

Bjornstad and Co: Remembrance

Although their fellow countrymen Terje Rypdal and Jan Garbarek might be better known in America, the trio of Ketil Bjørnstad, Jon Christensen, and Tore Brunborg constitutes something of a Norwegian jazz super-group. It was a real studio summit meeting brought together by ECM’s Manfred Eicher, which yielded the elegant Remembrance, now available on CD from his highly esteemed label.

The eleven movements of Bjørnstad’s Remembrance effectively comprise a suite, supplying a general framework for a very in-the-moment session. With forty years experience playing together, pianist Bjørnstad and drummer Christensen clearly have a strong musical affinity. Tenor saxophonist Brunborg and Christensen also shared a decade-plus together as part of the drummer’s band Masqualero. All three come from a similar classical-ECM-influenced jazz bag, so they easily fit together throughout Remembrance.

Bjørnstad’s cascading introduction to “Remembrance I” again demonstrates why his music is often likened to things aquatic. Indeed, Christensen was part of his so-called Water Trio that recorded albums like Water Stories and The Sea. It is a somewhat stormy passage that ultimately gives way to the contemplative second movement, which brings out quite a dramatic mournfulness from Brunborg’s tenor.

While “III” has a more minimalist vibe, Christensen’s sly brush work gives it a subtle swing. “IV” continues in a similar mood, segueing into a showcase for Brunborg’s deeply expressive tenor on “V.” Christensen’s evocative percussion effectively punctuates the deliberate build of “VI.” The tempo slows markedly on “VII,” probably the most introspective movement of the set.

“VII” again frames the some sensitive but powerful statements from Brunborg, who really distinguishes himself throughout the session. The darkly hued “IX” (sans Brunborg) aptly illustrates Bjørnstad’s facility in the lower register and Christensen’s flair for skitterish accents. Perhaps the highpoint of the session is the absolutely gorgeous melody of “X,” perfectly suited to Brunborg’s impassioned playing, nicely capped by Bjørnstad’s delicate coda. It all comes full circle with the concluding “XI,” which revisits the theme of first movement.

Though titled Remembrance, Bjørnstad’s pseudo suite is not explicitly dedicated to specific person or event. Yet, it is certainly music conducive to reverie of times past. Richly suggestive music, it holds a strange power that deepens with additional listening. It is an excellent release from three of Norway’s finest musicians.

(Photo: Ken Opprann/EVA 2009)

Tord Gustavsen Returns

Great poetry has a funny way of yielding up secrets to readers at the strangest time. A volume of W.H. Auden’s poetry seemed to call to the Norwegian jazz pianist Tord Gustavsen while he was touring Oxford. Something about the verse spoke to Gustavsen, ultimately inspiring Restored, Returned, his latest CD which departs from the trio format the pianist has hitherto excelled in.

When Tord Gustavsen’s debut ECM recording was released in America, it was about as unlikely a sensation as you could imagine, yet it became a surprise breakout hit of the year. Introspective rather than showy (sublimely so, in fact), it followed honorably in the Bill Evans trio tradition. However, his new ensemble will surely surprise his listeners, incorporating reeds, vocals, and even a different bassist (Mats Eilertsen in place of Harald Johnsen).

Still, there is a tranquility to Restored that is well in keeping with Gustavsen’s previous releases. The new group’s sensitive approach is immediately evident in the opening “The Child Within,” a lovely lullaby that perfectly suits Tore Brunborg forlorn sound on the soprano saxophone. It is effectively followed by the minimalist introduction to “Way In,” which slowly builds into a relatively stormy crescendo, before subsiding again.

The first of Gustavsen’s four settings of Auden’s poetry, “Lay Your Sleeping Head, My Love” has a surprisingly bluesy vibe, largely due to Kristin Asbjørnsen’s “rootsy” vocal style, which bears favorable comparison to Norah Jones. The slight rasp of her voice also brings a lot of character to the slow building title track, nicely contrasting with Brunborg’s crisp tenor.

Indeed, Brunborg has strong straight ahead chops, which he gets to exercise on tenor with the appropriately snaky but still peaceful “Spiral Song,” probably the “pure” jazz highlight of Restored propelled with subtle insistence by drummer (and trio regular) Jarle Vespestad.

Gustavsen’s compositions are consistently intriguing, evolving slyly at odd angles, often ending someplace completely unexpected, as in “The Swirl/Wrapped in a Yielding Air,” a piece built on a slow groove that segues into a sparse, nearly straight spoken word passage from Asbjørnsen that actually is not a particularly supportive arrangement for her distinctive voice. Much more compatible are the various “Lullaby” tracks that feature her haunting wordless vocalizing.

The selected Auden stanzas have a fatalistic romanticism that perfectly suits the darkly evocative elegance of Gustavsen’s music. Like fine poetry it takes on deeper meanings over time with repeated listening. Truly eloquent music, Restored represents a refreshing departure from an already important jazz talent. New Yorkers also have an opportunity to hear the Gustavsen ensemble in live performance tonight (3/31) at Merkin Hall.

Photo: Hans Fredrik Asbjørnsen

Henriksen’s Cartography

Cartography
By Arve Henriksen
ECM Records 2086

Inspired by the sound of traditional Japanese Shakuhachi flutes but employing the latest in sampling and programming effects, Norwegian trumpeter Arve Henriksen’s music is an intriguing dialogue between the ancient and the post-modern. Happily, there is also substance to his music, making Cartography, Henriksen’s debut ECM release as a leader, a challenging but richly satisfying recording.

Often compared to label-mates Nils Petter Molvaer and Jon Hassell, Henriksen’s moody, airy trumpet style should also appeal to fans of Erik Truffaz. All four trumpeters have a penchant for mixing their refined technique with various forms of electronic effects and distortion, arguably following in the tradition established by the Miles Davis electric sessions greatly shaped and edited by producer Teo Macero.

Blending elements of improvised jazz, avant-garde minimalism, and traditional Japanese music, Henriksen creates trance-inducing soundscapes, like the opening “Poverty and Its Opposite,” in which his lyrical trumpet seems to float above Jan Bang’s pulsating samples. Henriksen’s ability to channel Shakuhachi sounds through his instrument can be heard during the eerie introduction “Before and Afterlife,” the first of two spoken word tracks featuring David Sylvian, the former front-man of the British New Wave band Japan. Henriksen’s lonely trumpet and Bang’s unsettling programming effectively compliment its themes of transience and alienation.

Henriksen’s classical inspirations are probably most explicit on “Recording Angel,” which samples the Trio Mediaeval performing “Oi me lasso,” which they also recorded for ECM on their Words of the Angel release. Thanks to Bang’s disorienting effects and the leaders plaintive trumpet, the effect is nothing like Gregorian mood music.

Despite the highly produced nature of most tracks, both Henriksen’s improvisations and compositions are often quite arresting. On the hypnotic “Migration,” his trumpet quivers and cracks over the Bang’s otherworldly loops. Anchored by bassist Lars Danielsson, Henriksen sounds much like Chet Baker playing inside a Dali collage. Yet, perhaps his most poignant playing can be heard on the haunting “Loved One.” It all concludes with the elegant “Sorrow and Its Opposite,” which nicely synthesizes the disparate classical and electronic elements heard throughout the previous selections.

Cartography is consistently compelling music that really insinuates itself into the listeners ear. While Henriksen shows a bold flair for experimentation, his music has an undeniable power and is frequently surprisingly accessible.

Given the layers of production involved in Cartography’s creation, one might wonder how he sounds in live performance. Those curious New Yorkers should check out Henriksen playing with Nils Petter Molvaer tonight (6/16) at Le Poisson Rouge.

Equilibrium

Equilibrium
By Mikkel Ploug, Sissel Vera Pettersen, Joachim Badenhorst
Songlines

Suddenly wordless vocalizing is cool again. When Louis Armstrong first started scatting in the 1920’s it was a true revolution, but during the 1960’s overly commercial producers often sweetened up perfectly good sessions with the “oohs and ahs” of cheesy background singers. Things have come full circle recently, with groups like the Ploug, Pettersen, and Badenhorst trio performing some very hip, intelligent music that combines harmonically-advanced vocalizing into a unified group concept. The result is frequently ethereal music, like that which can be heard on their new CD Equilibrium.

Formed in Copenhagen, the trio consists of the Danish Mikkel Ploug on guitars; the Norwegian Sissel Vera Pettersen on vocals, soprano saxophone, and electronics; and the Belgian Joachim Badenhorst on reeds, clearly bringing a host of Nordic and Continental influences into their genre-blending group. “Chorale I,” the first of four such motifs, offers a brief introduction to PPB, effectively illustrating the aptness of the title Equilibrium, in which voice, reeds, and strings are so seamlessly integrated together, it is difficult to distinguish one from the unified whole.

The following “November” elevates Pettersen’s voice more prominently in the mix, but its momentum is driven by Badenhorst’s whirling clarinet. It is a hypnotic, otherworldly piece that should allay fears that this will be a set of mere mood music.

At times the trio’s music can be a bit diffuse, as it is in the effect-dominated “Fri,” which only starts to take concrete form from Ploug’s guiding guitar in the final minute and a half or so. Still, Equilibrium is often quite melodically accessible, like the pure instrumental “Soft Spoken,” featuring an impressive soprano solo from Pettersen. In fact, the close harmonies of the horns are so in keeping with the dynamics of her voice intertwined with Badenhorst’s reeds, the change in instrumentation still sounds perfectly in keeping with the preceding vocal tracks.

The vibe of Equilibrium shifts radically, from the peaceful “Chorales I-III” to the darkly unsettling, overtly electronic “Takt” and “Chorale IV.” Yet, the most dramatic evolution probably takes place within Equilibrium’s standout instrumental track “Warmth,” which steadily builds in intensity from its initial mournful strains into a soaring climax.

Employing unusual instrumentation, electronic distortion, and unearthly noises, Equilibrium is about as far from mood music as one can get (unless you have some really strange moods). Yet PPB’s group conception and musical rapport is so cohesive, they draw listeners in with their surprisingly seductive sounds. It is a consistently intriguing session that still maintains its power after repeated listening.

New Music from the Hot Clubs of the World

Bohemian Maestro: Django Reinhardt and the Impressionists
By the Hot Club of San Francisco

Django Music
By the Hot Club de Norvege

The Belgian Roma guitarist Django Reinhardt easily remains the most influential European artist in the history of jazz. His sessions with the original Quintette du Hot Club de Paris, with Stéphane Grappelli on violin and brother Joseph as one of two rhythm guitars, still inspires guitarists of all genres, resulting in the world-wide proliferation of “Hot Club” combos playing Reinhardt inspired jazz. There are Hot Clubs of Sweden, Hungary, New Orleans, Detroit, Las Vegas, and even Spokane. Some have developed international reputations through Django festival appearances and recordings, including The Hot Club of San Francisco and the Hot Club de Norvege (Norway), who have recently released Bohemian Maestro and Django Music respectively.

Very definitely on the Parisian scene during the Impressionist period, Django Reinhardt and the Hot Club often performed for and occasionally jammed with Maurice Ravel. Jumping off from that point, the Hot Club of San Francisco (HCSF) pays tribute to their inspiration with Bohemian Maestro, an ambitious program of Reinhardt’s influences, the contemporary sounds of his era, and the Roma maestro’s little known compositions that illustrate an affinity for classical, particularly Impressionist music.

Bohemian starts with two originals that channel the Django spirit, particularly the brief opener, “Le Surdoue,” which lead guitarist Paul Mehling pieced together from Reinhardt’s melodies and improvisations. In tribute to Ravel, the HCSF add classical pianist Jeffrey Kahane (music director for the Los Angeles Chamber Orchestra and Colorado Symphony Orchestra) for a fleet rendition of Reinhardt’s “Vendredi 13,” as would befit a spontaneous club jam. Kahane also joins the HCSF on the more relaxed “Diminushing Blackness,” a tune Reinhardt once recorded under the title “Go Tell Mozart,” getting a chance to stretch out nicely with an elegant solo statement.

Reinhardt was eight years old when Claude Debussy died, so it is safe to assume they never jammed, but as a longtime resident of Paris, the HCSF reasonably assumed his familiarity with Debussy’s music, mixing into the program two brief but evocative extracts from “Pour L’Egyptienne” and a sensitive rendition of “Clair de Lune,” all which spotlight Evan Price’s expressive violin.

The HCSF expands the sonic range by adding the woodwinds of the Aeros Quintet for two Reinhardt compositions originally written for large ensembles. “Nympheas” was originally a big band piece, which the HCSF speculates may have been inspired by Monet’s “Water Lilies.” The woodwinds give it a warm lushness, while Mehling’s guitar solo is appropriately thoughtful. The Aeros Quintet is also featured front-and-center on “Messe,” Mehling’s transcription of the surviving overture from Reinhardt’s lost mass for the Roma, before segueing into Reinhardt’s so-called “Improvisation.” It is a lovely performance in a rich and inventive tribute.

The Hot Club de Norvege (HCN) has also recorded some more ambitious Reinhardt tributes, but in Django Music they largely return to the essentials of Djangology. After a “meh” of a vocal opener with “I Can’t Give You,” they settle into the Reinhardt repertoire with a swinging “Blue Drag.” “Nuages” and “Tears” are absolutely indispensible for any Django greatest hits collection, and the HCN does right by them both, with violinist Finn Hauge’s harmonica particularly effective capturing their sophisticated melancholy.

While more traditional than the Villa-Lobos and Poulenc of the HCSF’s Bohemian, the HCN still includes some adventurous tune selections, like the traditional Jewish songs, “Joseph, Joseph” and “David,” which give an idea how Reinhardt’s Hot Club might have approached the Benny Goodman hit “Bei Mir Bist Du Schoen.” However, their most inventive and rewarding Hot Clubbing of a tune is “Danse Norvegienne” from their homeland. After an exotic (almost Celtic sounding) opening dominated by Hauge’s violin, guitarist John Larsen brings it back to gypsy swing, soloing eloquently while Hague maintains the Scandinavian vibe.

Larsen, second guitarist Per Frydenlund, and bassist Svein Aabostad have been playing together since 1979 (with Hauge the relative newcomer, joining in 1985) so their rapport is well attuned at this point. Laying claim to the first Norwegian jazz to have digital life on CD with Swing de Paris, they also prove many Hot Clubs of the world are significantly more than mere cover bands. Both the HCSF and HCN demonstrate the lasting inspiration of Django Reinhardt, putting intriguing spins on his sophisticated Hot Club style.

Arild Andersen Trio Live

Live at Belleville
Arild Andersen, Tommy Smith, Paolo Vinaccia
ECM Records 2078

In 1905 Norway dissolved its union with Sweden, becoming the only country to ever democratically elect a sovereign monarch, Haakon VII, formerly Prince Carl of Denmark. To mark the centennial of Norwegian independence from Sweden (an event surely worth celebrating), bassist Arild Andersen composed the Independency suite, which is now the centerpiece of his new trio recording, Live at Belleville.

Belleville, recorded live at the title Oslo jazz club and the Drammen Theatre, launches with Andersen’s ambitious four-part suite. The first movement has a stately but evocative spirit, portending drama to come. The second is more in the free tradition of Andersen’s work with Sam Rivers and Don Cherry, with the Scottish Tommy Smith contributing a fiery solo on tenor.

Independency then segues into an atmospheric, open sounding passage that fits some of the preconceived notions of ECM sound, which Andersen has been a part of almost since the label’s inception (having appeared on Jan Garabrek’s Afric Pepperbird and Robin Kenyatta’s Girl from Martinique in 1970). Andersen’s use of electronic effects also suggests a kinship with some of his soundtrack work, like his Electra, composed for an Athenian production of the Sophocles classic. The suite concludes with a bluesy (if idiosyncratically so) final movement. Throughout, the leader gets plenty of solo space, as does Smith, but his tenor is usually warm or even incendiary, as opposed to Nordic cool.

With Ellington’s “Prelude to a Kiss” Andersen’s trio give the only standard of the session an elegantly sparse treatment that showcases Smith’s free-ranging, but beautifully expressive tenor, subtly supported by drummer Paolo Vinaccia’s brushwork. Belleville concludes with two more Andersen originals. Following a prelude from Vinaccia, still on the brushes, “Outhouse” quickens the tempo, providing a nice vehicle for the trio’s bop chops.

The disk concludes with the haunting melody of “Dreamhorse,” which Andersen introduces on bass in a particularly effective arrangement. The standout track, it also features some of the most sensitive solo statements of the session. (The audience evidently agreed, as they can be heard enthusiastically applauding for the final fifty seconds of the track.)

Andersen covers a great deal of ground in Belleville. Sometimes demanding, at other times lyrically beautiful, it is a richly textured program from a highly attuned group of musicians.

Yeraz: Duo with Saxophone and Accordion

Yeraz
By Trygve Seim and Frode Haltli
ECM Records 2044

Those who do not associate the accordion with jazz, have never had the pleasure of discovering great jazz accordionists, like Frank Marocco, Leon Sash, and Gil Goldstein. Unfairly maligned as an oompah instrument, in the right hands the accordion can bring remarkable texture and depth to music, appearing frequently on genre-defying ECM sessions led by Eleni Karaindrou and Anouar Brahem, among others. Accordionist Frode Haltli has himself recorded for the label as a leader and with reed-player Trygve Seim’s groups. Something clicked when the fellow Norwegians played together, leading them to form a duo for festival engagements. The success of those performances culminated in the recent release of their first strictly duo recording, Yeraz.

Although Haltli has often played with jazz artists, his music is often classified with terms like “improvisational” and even “classical.” Both artists share an interest in various forms of folk music and are equally comfortable with both largely through-composed and freely improvised music, which is evidenced on Yeraz. Starting with the improvised prelude of “Praeludium,” the duo then segues into a medley of two compositions by controversial Armenian spiritualist G.I. Gurdjieff, “Bayaty” and “Duduki.” At times, Haltli’s accordion evokes an old world ambiance on the former, whereas the duo lock-in for the trance-like “Duduki,” suitable for the whirling dervishes that once inspired the composer.

Seim and Haltli also draw on Armenian source material with the traditional title track, “Yeraz,” with Seim’s plaintive tone and Haltli’s organ-like sustain suggesting a dirge or requiem. The following “L’Altria Storia” again features an extended prelude from Seim, introducing one the more distinctive melodies of the session. An intriguing composer, Seim’s originals suggest diverse influences, like the appropriately eccentric Tom Waits tribute, “Waits for Waltz,” which also showcases some of his most full-bodied jazz tenor work.

However, the duo’s most melodic playing comes on their radical but instantly recognizable reinterpretation of Bob Marley’s “Redemption Song.” Showing both a playful spirit and heartfelt respect for the original, it is an album highlight. Interestingly, some of the best jazz covers of pop material this year have appeared on highly original ECM releases, including Norma Winstone’s gorgeous rendition of Peter Gabriel’s “Here Comes the Flood” and the Marcin Wasilewski Trio’s sparkling reworking of Prince’s (or whoever he is) “Diamonds and Pearls.”

There are some arresting moments in Yeraz, as well as some surprisingly catchy music. Though the spacious duo format can sound somewhat diffuse at times, the combination of Seim’s saxophones, tenor and soprano, combined with Haltli’s accordion creates a consistently exotic and rewarding sound throughout.

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.

Leipzig Live

Life in Leipzig
By Ketil Bjørnstad and Terje Rypdal
ECM Records 2052

With thirty published books and novels to his credit, Ketil Bjørnstad is certainly a literate jazz artist. While his only volume currently available in English is a biography of Edvard Munch, the influence of his fellow Norwegian artist is not readily apparent on Life in Leipzig, his new live duet release with frequent collaborator Terje Rypdal. However, the pianist and guitarist do create music of a vivid, darkly-hued nature, not totally foreign the spirit of some of the painter’s work.

Bjørnstad immediately serves notice of the dramatic program to come through the deep resonance of the Bösendorfer’s added low-end, as “The Sea V” rumbles to life with the sound of ominous foreboding. Bjørnstad slowly releases the tension and lightens the tone while Rypdal simply adds starkly atmospheric distortion effects, until entering in well past the track’s halfway mark, swooping and soaring over Bjørnstad’s piano, until they seamlessly segue into the next tune, “The Pleasure is Mine.”

As a set, Leipzig has a seductive ebb and flow that matches Bjørnstad’s frequent water music motifs. While their concert repertoire drew largely from Bjørnstad’s The Sea, his thematically related Water Stories, and several of Rypdal’s releases, it sounds almost like an extended suite, so subtle are the transitions from piece to piece. Bjørnstad alternates his rhapsodic runs on the keys with Rypdal’s squealing and shredding guitar through “The Sea V,” “Pleasure,” and “The Sea II,” finally giving the audience space to applaud with the conclusion of “Flotations and Surroundings.”

While “Easy Now” is more restrained and delicate, it could have been a coda to the preceding suite-but-not-a-suite. Grieg’s “Notturno” is a palate cleaning feature for Bjørnstad, as is the lovely miniature “Alai’s Room,” which leads directly into majestic “By the Fjord,” an ode to Norway if ever there was one.

As one of the greatest hits of Scandinavian jazz, the first audible notes of Rypdal’s “The Return of Per Ulv” brings appreciative applause from the audience. It is actually a tribute to the Warner Brothers’ character Wile E. Coyote, known as Peter Wolf in Norway, as the “Wile E.” presumably would not translate. It is a catchy melody here performed with gusto by both Bjørnstad and the composer, closing out quite a concert.

Although Leipzig is a live recording in the East German city’s Opera House, it often sounds like a studio production. While Bjørnstad might in his words: “not always be the softest pianist,” it is still a real trick balancing piano and electric guitar, so neither sounds overwhelmed or muffled, but no such worries here.

The sound is indeed fantastic and the music is compelling. Having performed together as a duo and in The Sea Quartet, Bjørnstad and Rypdal show a remarkable level of musical empathy in a powerhouse concert, the sonic currents of which listeners can willingly lose themselves in, until the rousing finale breaks the spell.

Biolcati's Persona

Persona
By Massimo Biolcati
ObliqSound

Feel the Bergman love. Massimo Biolcati’s debut CD as a leader, Persona (on-sale today), takes its inspiration from the Ingmar Bergman film of the same title. There might be some irony in taking a film about two contrasting personalities as the jumping off point for his first opportunity to establish a distinct impression as a leader. However, Biolcati’s program of opposing themes has some bright, energetic moments.

The first five tracks (which would have been side 1 back in the day) form the so-called “Motion” program or persona. The first two tracks are direct reflections on the Bergman film. “The Beginning,” logically enough the lead-off track, starts the proceedings at a crisp tempo. “Deconstruction” is less of a flag-waver, conveying a sense of nervous energy through the guitar of Lionel Loueke. Up to this point, Biolcati is probably best known for his work with the guitarist, including Loueke’s acclaimed Virgin Forest from last year.

“Wise Way” is an appealing feature for the leader’s bass. Inspired by drummer Jeff Ballard’s work with Chick Corea, it brings to mind some of the pianist’s pleasing past melodies. The energy portion of the disk concludes with “TT (in Memoriam Take Toriyama),” which became a tribute to the late drummer, but according to Biolcati: “It’s not a requiem, as I wrote it when he was alive and full of energy, which is the way I want to remember him.”

Fittingly, the tribute to Toriyama leads into the “Stillness” program. The introspective portion of Persona starts with a vocal performance by Lizz Wright, interpreting a poem by Norwegian poet Mona Vetrhus (Biolcati is actually Italian-Swedish). The lyrics are appropriately Nordic, beginning:

“When you disappear like a barren winter time, the night under the white
Searching for your tomb and talking to the moon, you say you’ll be home soon.”

“Stillness” is an apt description for “Hopeless Dream To Be,” which has a strong ECM flavor. The Northern European vibe eventually reaches its apex with the concluding composition, “Scandinavia.” Pianst Peter Rende switches to accordion, giving the track a ghostly Old World quality.

Biolcati has penned some intriguing melodies and presented them in a thoughtful manner. Persona sounds like a real concept and not just a collection tunes, making it a strong debut for the bassist as a leader.

Norway and All GATT Jazz

There was cool swag in the exhibit hall at IAJE this year, some of which I’m still working through. Music Export Norway actually had some of the best freebies: samplers of Norwegian artists, including some who are already well known. Nils Petter Molvaer’s “Little Indian” appears on Norway Now and Tord Gustavsen’s “Being There” is included on a full three-CD set Jazz from Norway 2006. Arguably Norway had a better conference than France, who had underwritten an extensive bistro-style sitting area on the exhibit hall, and featured several artists in the closing evening conference. Norway however, had Matthias Eick, who won the IJFO jazz award and gave one of the better concerts of the show.

It does raise questions about jazz’s place in international commerce. Presumably, Amercia has an absolute competitive advantage when it comes to jazz, as the vast majority of jazz greats and current stars have been American. Is it a comparative advantage though? Is our greatest comparative advantage in pop acts (depressing to think) perhaps, and does say Great Britain have a greater comparative advantage in rock than America?

While this is mere speculation, the commerce of culture is very serious business in Europe. France in particular has created international controversy for efforts to protect the French film industry. From the standpoint of trade politics could the generous giveaways at IAJE be construed as “dumping?” It highlights the folly of such protectionist complaints, as most in attendance were happy to get free music, American musicians included. Free exchange of artistic expression is good thing, and it benefits all artists to be exposed to a wide array of ideas and developments. Contemporary protected French cinema is a case in point.