Record Reviews

AKMEE ~ NEPTUN NAKAMA 011 (Barcode: 7090040260208) ~ NORWAY ~ Free Jazz / Improvised Music Recorded: 2016 Released: 2017 This is the debut album by the Norwegian quartet AkmeeFind albums by this artist, which comprises of trumpeter Erik Kimestad PedersenFind albums by this artist, pianist Kjetil JerveFind albums by this artist, bassist Erlend Olderskog AlbertsenFind albums by this artist and drummer Andreas WildhagenFind albums by this artist. The album presents four lengthy pieces, two composed by Jerve and one each by Albertsen and Wildhagen. The music floats between composed themes and freely improvised passages, developing slowly and allowing all the members of the quartet to express their ideas and exchange ideas with others, always respectfully and gracefully. As usual in these circumstances there are several fracture groups within the quartet, like trumpet / rhythm section or piano / rhythm section trios, in addition to the full quartet performances of course. The individual performances by all four members of the quartet are very impressive and interesting. There is an obvious effort to search for new ways of expression and even new sonic possibilities on their respective instruments. There is nothing expected here and every new sound opens new possibilities for the quartet to follow suit. Pedersen soars on his trumpet, Jerve is cool like northern ice, Albertsen is steady like a rock and keeps the proceedings in check and Wildhagen wonderfully ornaments the music which his highly unconventional percussive approach. Of course, as expected, the music has ingredients of the typical Norwegian school, but is not overall stylistically lethargic, mixing fire and ice exactly at the right proportions. Personally the work of Jerve is the most fascinating to me, but to be fair all four young musicians are examples of the superb new European Jazz generation, which contributes to the Renaissance of the genre. The album is relatively concise and lasts only slightly above the half an hour mark, but considering the intensity and complexity of the music perhaps this is a wise decision, delivering just the right amount of music which a listener is able to sit through before getting distracted. The album is another excellent release on the young independent Norwegian label NakamaFind albums on this label Records, which consistently manages to put out superbly challenging contemporary European Jazz. Well done!

Updated: 27/09/2017Posted: 27/09/2017

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HALYM KIM / BIJUL ~ MY ILLUSION OF KOREA BAREFOOT 070 (Barcode: 5706274011104) ~ GERMANY ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2021 This is an album by German (of Korean origin resident in Copenhagen) Jazz-drummer Halym KimFind albums by this artist and his ensemble BijulFind albums by this artist, which also includes Danish saxophonist Nana Pi Aabo LarsenFind albums by this artist, Swiss bass clarinetist Eloi CalameFind albums by this artist, Norwegian trumpeter Erik Kimestad PedersenFind albums by this artist and Polish pianist Grzegorz TarwidFind albums by this artist. The album presents four tracks, all composed by Kim. The album’s duration is below half an hour, which makes it rater an EP than a full album. The music is typical Free Jazz / Improvised Music outing, based on sketchy compositions barely recognizable as far as melody is concerned, and personally I was also unable to recognized any Korean Music references, as alluded by the album’s title and the PR material attached to the album, which was released by the adventurous Danish BarefootFind albums on this label label, home to many similar projects, obviously flourishing in Copenhagen, one of the epicenters of young European Jazz / Improvised Music. The album offers a plethora of excellent statements by the participants, most impressive of those being (not surprisingly) by Tarwid, who is able to create his own microcosm whenever he touches the keyboards. But all the rest of the musicians, including the leader, are also very expressive and creative. The music, however, sounds sadly really dated, like something that might have been recorded in the 1960s, when Improvised Music and Free Jazz exploded into the consciousness. This reflects the paradox of Avant-Garde / Improvised Music, which although completely innovative and revolutionary at the time, simply almost entirely (with very few exceptions) froze in time, adding virtually nothing new to the genre in the last five decades. Overall, for lovers of Improvised Music, this album is as good as any of the many recordings currently released within that genre, but the music is unable to penetrate beyond a very narrow niche that it occupies. Personally I enjoyed the music while it lasted, but I’ll probably never return to listen to it again. Still it is definitely worth exploring and as far as Tarwid is concerned, it is a valuable addition to his already quite impressive recorded legacy.

Updated: 01/07/2021Posted: 01/07/2021

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MMO ENSEMBLE ~ ANY DAY NOW ORA FONOGRAM 134 (Barcode: 7090015631347) ~ NORWAY ~ Jazz & Poetry Recorded: 2018 Released: 2018 This is the second album by the Norwegian saxophonist / composer Martin Myhre OlsenFind albums by this artist and his MMO EnsembleFind albums by this artist, which is a platform he uses to realize his ambitious large scale projects. On this album the ensemble is expanded to a 12tet and includes besides Olsen also saxophonist Andre RolighetenFind albums by this artist, trombonist Oyvind BraekkeFind albums by this artist, trumpeter Erik Kimestad PedersenFind albums by this artist, vocalist Siril Malmedal HaugeFind albums by this artist, guitarist Karl BjoraFind albums by this artist, pianist Ayumi TanakaFind albums by this artist, violinists Hakon AaseFind albums by this artist and Adrian Loseth WaadeFind albums by this artist, cellist Kaja Fjellberg PettersenFind albums by this artist, bassist Christian Meaas SvendsenFind albums by this artist and drummer Simon Olderskog AlbertsenFind albums by this artist. The album presents a live recording of an eleven-part suite composed by Olsen, which is a Jazz & Poetry endeavor. The album´s title and the titles of the individual tracks derive from a poem by James BaldwinFind albums by this artist and poetry by Emily DickinsonFind albums by this artist and E. E. CummingsFind albums by this artist is used within the suite. The music is mostly composed, based on strongly melodic motifs, but allows space for improvised passages. The large scale ensemble is capable of producing a rich orchestral sound but also fragments of intimate small scale moments and even individual solo statements. The fact that this highly complex music was recorded live as truly astounding. Both the ensemble performances and the individual statements by all the musicians involved are extraordinary. The ensemble spirit, which in a large ensemble like this one is often quite problematic, works here like a charm and the resulting music flows coherently and flawlessly from one piece to the next. But of course it is the musical concept and the compositional ability of Olsen that stands in the center of attention. Olsen talks about bringing the "Duke EllingtonFind albums by this artist Spirit" of Jazz composition into the 21st Century, and indeed his compositions are certainly inspired and influenced by Ellington´s works, but the transition into contemporary idioms is entirely his own creation. One might wish to fantasize how the Ellington Orchestra would sound today and listening to this album is of course one way to accomplish this fantasy. This album certainly continues the Ellington tradition of an orchestra based on virtuosi instrumentalists playing complex and intricate arrangements and featuring vocals. But of course one must not take these direct comparisons too far. Overall this is a stunning piece of music, which offers a vast amount of ideas and emotions, which are simply impossible to comprehend by listening to the album just once. With each listening session a true music lover will discover new layers and experience new thrills. It certainly looks like Olson is cementing his position on the large orchestral Jazz scene and if this is his early period, the sky is the limit. This album is a wonderful example of what European Jazz is able to accomplish using its own language. Although this music is not really representative of the Nordic Jazz idiom, the musical atmosphere of freedom, acceptance and open-mindedness among the young local musicians in Norway is pushing the music in the country to explore uncharted territory and make constant progress. This is definitely an exquisite album, which deserves to be heard and studied by all true music connoisseurs around the world. Absolutely and wholeheartedly recommended, and hats off to these young Jazz lions!

Updated: 23/10/2020Posted: 11/10/2018

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WANJA SLAVIN / LOTUS EATERS ~ SALVATION WHYPLAYJAZZ 035 (Barcode: 4250459999356) ~ GERMANY ~ Jazz Recorded: 2016 - 2017 Released: 2018 This is the second album by German saxophonist / composer Wanja SlavinFind albums by this artist and his European Lotus Eaters ensemble, recorded over a period of almost a year in three studios and with three slightly different lineups of the ensemble. The collective personnel includes some of the best contemporary European Jazz musicians mostly resident in Berlin: British trumpeter Tom ArthursFind albums by this artist, Norwegian trumpeter Erik Kimestad PedersenFind albums by this artist, German saxophonist Philipp GropperFind albums by this artist, German pianist Rainer BohmFind albums by this artist, Danish bassist Andreas LangFind albums by this artist, Swedish bassist Petter EldhFind albums by this artist, German bassist Bernhard MeyerFind albums by this artist, German drummer Tobias BackhausFind albums by this artist, Latvian drummer Ivars ArutyunyanFind albums by this artist and finally American drummer Nasheet WaitsFind albums by this artist. The album presents seven pieces, six of which are original compositions by Slavin and one is standard. From the very first notes of the album it is immediately apparent that this is a modern Jazz masterpiece in every respect. The melody based compositions are dressed up in contemporary arrangements, which include unusual rhythmic patterns and harmonic structures, creating a unique kaleidoscope of superb music, which is fascinating from start to finish and does not cease to explore uncharted territory and create new aural vistas. The level of these compositions is completely breathtaking and has very little competition elsewhere within music belonging to the same Jazz dialect. The ability to create an amalgam of the Jazz tradition, Classical influences and up to date approach, which incorporates elements form electronic music and above all allows a generous amount of space and freedom for improvisation is overall extremely effective. Combined with the creative performance abilities by these excellent European musicians, the overall result that is put in front of the listener as simply a knockout. The album is full of exquisite solos by the ensemble members and of course the ensemble performance as a whole is marvelous. The subtle, but easily distinguishable differences between the three lineups are also a most effective factor that makes this music so powerful. This album is a brilliant example of what European Jazz is all about; it is evident in its highly aesthetic values, its elegance and subtlety, its refinement and sophistication, which is simply unmatched anywhere else on this planet. The young Jazz Artists from Berlin, Warsaw, Copenhagen and Oslo manage to take the Jazz idiom to the next level, leaving the old world tarried far behind. If this album is an indication as to what can be expected in 2018, life is definitely worth living and there is no better way to kickoff another year of sublime music!

Updated: 02/03/2018Posted: 02/03/2018

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KAROLINE WALLACE ~ STIKLINGER ORA FONOGRAM 169 (Barcode: 7090015631699) ~ NORWAY ~ Avant-Garde Jazz Recorded: 2020 Released: 2021 This is the second album as a leader by Norwegian vocalist / composer Karoline WallaceFind albums by this artist, recorded with musicians she encountered while living in Copenhagen: saxophonist Jonas EngelFind albums by this artist, cellist Ida NorbyFind albums by this artist, trumpeter Erik Kimestad PedersenFind albums by this artist, pianist Thibault GomezFind albums by this artist, bassist Petter AsbjornsenFind albums by this artist and Polish drummer Szymon GasiorekFind albums by this artist (a.k.a. Szymon PimponFind albums by this artist). The album presents six original compositions by Wallace. Wallace, who has already a rather impressive recording legacy accumulated during the last few years, both as a leader and member of several Scandinavian ensembles, emerges as one of the most impressive figures on that scene. She mostly uses her voice like an instrument, which becomes another instrument in the ensemble, and her wonderful compositions are open to extensive improvisation, with their power being in their minimalism. On this album she uses recorded sounds from her childhood, which are incorporated in the music, creating a collage of sounds combined with the instrumentalist playing on the album. The compositions, or rather soundscapes, are inspired by her Grandmother’s garden and are full of mystique and internal tension and sound like a large orchestral work despite the fact that they are performed by just a limited number of participants playing only acoustic instruments. Despite the fact that the music is about very private reminiscences, the music manages to turn them into a universal experience. Overall this is a most impressive piece of contemporary Scandinavian / European Jazz / Improvised Music, which shows the incredible level of creativity the young generation of musicians has to offer. Wallace manages to create imaginative, highly absorbing music time after time and is certainly a figure worth following, as she obviously has a lot more to say in the future.

Updated: 13/08/2021Posted: 13/08/2021

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