Record Reviews
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  | ARILD ANDERSEN ~ THE ROSE WINDOW
INTUITION 71318 (Barcode: 608917131826) ~ NORWAY ~ Jazz
Recorded: 2016 Released: 2016
This is a spectacular album by the Norwegian Jazz bassist / composer Arild AndersenFind albums by this artist, recorded live in a classic piano trio setting with young and extremely talented Norwegian musicians: pianist Helge LienFind albums by this artist and drummer Gard NilssenFind albums by this artist. The trio performs six original compositions by Andersen and the album also includes an interview with Andersen. This album is the sixth volume in the "European Jazz Legends" series and of course Andersen deserves to be included in the distinguished group of European Jazz Giants. His countless recordings over time, mostly for the ECMFind albums on this label label, present a formidable tale of virtuosity, talent, elegance and untarnished good taste lasting now for almost five decades.
The music is mostly beautifully melodic, with typical melancholic and lyrical ambience that characterizes Norwegian Jazz, but one up tempo and highly dynamic piece is also included, emphasizing the diversity of Andersen´s milieu as a composer and of course as a brilliant bassist. The trio performs excellently together, with the two young musicians treating the Master with respect, supporting amicably his many solos, incorporated within the pieces present on this album. Andersen of course reciprocates with allowing them to play their respective solos as well.
Andersen´s performances are all stunning, and his virtuosity seems to be completely unaffected by time, which is a great blessing. He is incredibly sensitive both harmonically and rhythmically and every touch of the strings is always perfect in tone and time.
In many respects this album is an epitome of European Jazz; it is all about the relationship between sound and silence, the minimalism and understatement, the meaning of melody and its reflection in hundreds of years of tradition of Folklore and Classical Music, and countless other subtleties, that only few Jazz musicians outside of Europe are blessed with.
It gives me an immense pleasure to see Arild Andersen in great shape today and considering that we are only a few years apart, it gives me hope of at least few years into the future staying on top of things. Thank you Arild for all those years of musical pleasures and what a pity I missed you in Oslo recently – something we have to rectify at the nearest future.
Obviously this album is a must to all fans of Andersen´s musical universe and all connoisseurs of European Jazz at its best!
| | Updated: 13/08/2016Posted: 13/08/2016 | CD 1 Digipak Recommend To A Friend |
  | BUSHMAN`S REVENGE ~ ALL THE BETTER FOR SEEING YOU
IS IT JAZZ? 264 (Barcode: 7073317000318) ~ NORWAY ~ Jazz-Rock Fusion
Recorded: 2022 Released: 2023
This is the 11th album by Norwegian Jazz / Fusion power trio Bushman`s RevengeFind albums by this artist, which comprises of guitarist Even Helte HermansenFind albums by this artist, bassist Rune NergaardFind albums by this artist and drummer Gard NilssenFind albums by this artist. The album presents six tracks, all of which are original compositions by Hermansen. The album’s release marks the trio’s 20th Anniversary.
The music is quite unique, based on solid melodic tunes and featuring lengthy guitar improvisations backed up by a “heavy” sound created by the rhythm section. The tunes are rather lethargic and develop slowly, which results in something that might be considered as Nordic Fusion.
The discrepancy between the lyrical melodies and the intense heavy, almost Metal sound, creates a strange feeling of tension and anxiety, which is very rarely achieved by music, and therefore makes this music very special. Of course it is pretty far from conventional Jazz, but Fusion listeners should find it quite intriguing, if not fascinating, and of course some Prog fans should also be interested.
Overall, this is an interesting amalgam between Jazzy improvisation and heavy guitar oriented Rock sound, which is unique and uncommon. Recommended for the brave hearted and open-minded listeners, who are ready to explore uncharted territory, sort of Hendrix meets Coltrane in a dark alley in Oslo.
| | Updated: 05/02/2024Posted: 05/02/2024 | CD 1 Recommend To A Friend |
  | OBARA INTERNATIONAL ~ LIVE AT MANGGHA
FOR TUNE 0022 ~ POLAND ~ Jazz
Recorded: 2013 Released: 2013
This is the second album by the international quartet led by Polish Jazz saxophonist / composer Maciej ObaraFind albums by this artist, called Obara InternationalFind albums by this artist, which also includes the superb Polish pianist Dominik WaniaFind albums by this artist and a Norwegian rhythm section: bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist. The album, which was recorded live, comprises of six pieces, five of which are original compositions by Obara and the remaining one is by Krzysztof KomedaFind albums by this artist, to whom this group dedicated their debut album, simply called "KomedaFind albums with this title".
The music is placed somewhere between Free Form and contemporary Modern Jazz of the European variety. Most of the tunes get an expanded treatment, which includes extensive solo and group improvisations, and last around ten minutes each except one tune which is almost twice as long and the closing track which is a brief farewell. Although the melodic content is clearly recognizable, it is kept somewhat in the background, as if on a separate plane, and the improvisations are the focal point of this music, changing in tempi and intensity, but always out there on the forefront.
The level of musicianship involved herein is truly admirable and of the highest standing by any standard. This is by far not easy music and the amount of technique, talent and sophistication required in order to play it is simply astounding, not to mention the emotional tension. The entire concert portrays a wonderful flow of energy between the quartet members and of course the combined creative power of the quartet is even greater than the sum of the individual statements. Personally I enjoy the contributions by the pianist most of all. Wania, whom I´ve been watching carefully for a few years now, is definitely one of the greatest promises of Polish Jazz and is destined to get places. His brilliant work on this album, both as a soloist and as an ensemble member, is simply outstanding. Obara is a great player as well, of course, but his melancholy and mellow tone often seem to push the music somewhat backwards into the mainstream conformity. The Norwegian rhythm section is solid and reliable, when needed, and inventive and spontaneous when the music calls for it, in short they play splendidly, as only the Scandinavian rhythm sections can.
Overall this is another musical gem that the Polish For Tune label manages to put out for the world to hear and admire. The sound quality, separation and warmth are incredible considering the fact that this is a live recording. European Jazz connoisseurs are expected to lick their fingers upon exposure to this wonderful music. Well done gentlemen!
BTW Obara´s Polish quartet uses the excellent RGGFind albums by this artist rhythm section: bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist, which of course is also a dreamy team, so where is their next album I ask?
| | | CD 1 Recommend To A Friend |
  | OBARA INTERNATIONAL ~ LIVE IN MINSK MAZOWIECKI
FOR TUNE 0080 (Barcode: 5902768701883) ~ POLAND ~ Jazz
Recorded: 2014 Released: 2015
This is the third album by the international ensemble led by Polish Jazz saxophonist / composer / bandleader Maciej ObaraFind albums by this artist, which includes also Polish pianist Dominik WaniaFind albums by this artist and the Norwegian rhythm section comprising of bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist, and which was expanded to a quintet with the addition of British trumpeter Tom ArthursFind albums by this artist. The album was recorded live and presents seven original pieces, five of which were composed by Obara and one each by Vagan and Arthurs. The accompanying DVD is a straight-ahead documentation of the concert and offers no additional material.
Listeners familiar with Obara´s extensive recording legacy are of course familiar with his extraordinary qualities, but his work with this ensemble surely finds him at his artistic pinnacle. The music, which ideally balances the concept of composed music with the idiom of Free Jazz and extended improvisation, is a wonderful example of what contemporary European Jazz is all about.
With the addition of Arthurs to its ranks, the ensemble, in its classic Jazz Quintet setting, finally reaches the full power of expression, which enables it to present the full scale of solo and group improvisation. The musical approach if completely open, allowing the musicians to make lengthy individual statements, but also to create internal subset ensembles, like duets or trios, which are spontaneously created jus for a relatively brief duration. This fluctuating lineup and constant mutations are both fascinating musically and demanding intellectually, which of course is the best possible combination of stimuli.
The individual contributions by the ensemble members are all stellar. Arthurs is perhaps the best partner that Obara had so far, matching his powers of creativity and his virtuosic skills. Their work together, exchanging licks and playing unisono, is simply breathtaking. Wania consistently makes his way to the very top of European piano players and his brilliant work as soloist and accompanist is unprecedented. The rhythm section supports the soloists with flair and obvious camaraderie, but keeps a distinct identity and contributes solo statements as well.
Overall this is a classic example of European modern Jazz at its best, which is imaginative, creative and highly advanced. Based on the Jazz tradition, it expands the idiom towards new frontiers, keeping it alive and relevant. This is a one-hour concentrated capsule of Jazz at its best, which should keep every connoisseur of good music happy for a very long time. Brilliant from start to finish, this is a nectar we, Jazz enthusiasts, are always thirsty for.
| | Updated: 22/02/2016Posted: 22/02/2016 | CD+DVD 2 Recommend To A Friend |
  | MACIEJ OBARA ~ THREE CROWNS
ECM 2662 (Barcode: 602508069703) ~ POLAND ~ Jazz
Recorded: 2019 Released: 2019
This is the fifth album by the Polish Jazz saxophonist / composer Maciej ObaraFind albums by this artist and his international quartet, which also features Polish pianist Dominik WaniaFind albums by this artist and Norwegian rhythm section: bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist. It is the second studio recording by the quartet and also the second album by the quartet released on the German ECMFind albums on this label label. The album presents eight tracks, six of which are original compositions by Obara and two are his interpretations of pieces by Polish Classical composer Henryk GoreckiFind albums by this artist.
My review of this album´s predecessor "UnlovedFind albums with this title", the ECM debut, turned out to be extremely controversial, and I found myself in a decisive minority speaking rather critically about that album. The review ended with the following quote: "I can only hope that everything will turn for the better in the future…" Well the future is here, but sadly things not only are not better, but this album turns out even weaker than its predecessor. The original compositions are boring and heartless, the playing anemic and I had to make an effort to listen to it in its entirety…
And then there is Wania. His piano parts are the only islands of sanity in this entire endeavor. Playing sparingly and as usually simply fabulously, he manages to keep the music together at times. Sadly even his enormous musical gift is not able to save the album, but at least his parts prevent the listener from jumping out of the proverbial window. The rhythm section is completely enslaved by this music, unable to transform it into something move meaningful. As a result the rare piano solo and trio parts are the only breath of fresh air in this music.
It’s sad to see a musician so desperately lost…
| | Updated: 26/08/2020Posted: 26/08/2020 | CD 1 Slipcase Recommend To A Friend |
  | MACIEJ OBARA ~ UNLOVED
ECM 2573 (Barcode: 602557645620) ~ POLAND ~ Jazz
Recorded: 2017 Released: 2017
This is the fourth album by the Polish Jazz saxophonist / composer Maciej ObaraFind albums by this artist and his international quartet, which also features Polish pianist Dominik WaniaFind albums by this artist and Norwegian rhythm section: bassist Ole Morten VaganFind albums by this artist and drummer Gard NilssenFind albums by this artist. It is the first studio recording by the quartet, as the three previous albums, all released on the Polish For TuneFind albums on this label label, were live recordings. It is of course also the first album by the quartet released on the German ECMFind albums on this label label. The album presents seven tracks, six of which are original compositions by Obara and one (the title track) is a relatively infrequently recorded composition by the Godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist. The music was recorded at the legendary Rainbow Studio in Oslo with Jan Erik KongshaugFind albums by this artist in charge of the sonic quality.
Obara´s numerous earlier recordings, including the three albums with the quartet present here, established his position on the Polish Jazz scene as a restless explorer, a rebel and a fearless avant-gardist, who constantly pushed the borders of contemporary Polish / European Jazz. These recordings were uncompromising, adventurous, soaked in free-form and Avant-Garde expressionism, and yet deeply rooted in the Jazz idiom´s tradition.
The fact that this is a studio recording, as already mentioned above, and taking into account the decisive role of Manfred EicherFind albums by this artist, ECM´s supreme boss, who assumed the role of "musical producer" on this album, were obviously bound to have an effect on the outcome, but probably nobody could have imagined how dramatic the transformation was about to become.
The album is clearly divided into two sections (sort of A / B sides of an LP), with the first section (first four tunes) presenting deeply melancholic and introvert music, nicely rounded melodically and harmonically, but alas somewhat pale and monotonous, and the second part (last three tunes) being more ambitious and vibrant, but still not up to par with Obara´s earlier recordings. Gone is the fire and brimstone and the Obara heard on this album is all gentleness and sweetness, delicately uttering lovable notes, who seems to have lost completely the identity he worked for years to establish. Is this the next stage of development for Obara and his quartet? Quite possibly, but his old identity will be sadly missed.
But not everything is lost as far as this album is concerned. Wania manages to escape unspoiled and his work here is as brilliant as always, pure genius in fact. When he solos the music suddenly comes alive and sparks are flying. His brief interludes move elegantly into free-form, albeit briefly, finding the way back within a few bars. In many respects this album is as much Wania´s triumph as it is Obara´s underachievement. Sadly Wania´s brilliant work is not enough to save the album from the lethargic flow of "nice notes". The rhythm section is also excellent proving that playing in a much more relaxed environment is still within their capability and can be done intelligently and excitingly. And of course the sound quality is as heavenly as one might expect.
I am deeply saddened by the fact that this, obviously flagship recording by Obara, turned out to be less than I´d have hoped for. I can only hope that everything will turn for the better in the future.
Side Note: I have to admit that I was completely and utterly flabbergasted by the mass hysteria on the Polish Jazz scene surrounding the fact that this album was released on ECM. It is true that Obara is only the third Polish Jazz leader to have his album released by ECM (preceded by Tomasz StankoFind albums by this artist and Marcin WasilewskiFind albums by this artist), but what does it really mean?
Firstly it means that Manfred Eicher is simply not familiar enough with the burgeoning Polish Jazz scene and its world class talented musicians. If he was familiar with them, he would have surely invited some of them to record for his label, especially in view of the fact that dozens of Polish Jazz albums released by small independent Polish labels are way more interesting and meaningful than most of ECM releases in the last couple of decades.
Secondly it means that ECM is still considered by many people as a leading recording label, whereas in fact it lost its legendary status and influence many years ago. As pioneering and groundbreaking as the label was in the first couple of decades of its existence, bringing up scores of Jazz musicians to the attention of music connoisseurs, the label´s impact and leadership vastly diminished in time. Just ask yourself how many albums in the ECM catalogue do you know / own that were recorded in the 1970s / 1980s and how many albums you know / own that were recorded since 2000? Do the same with a list of recording artists who released albums on ECM in these two periods? The statistics are abundantly clear.
And lastly it means that Polish Jazz scene is completely consumed with the inferiority complex that has always haunted it, looking somewhere else for excellence and example rather than paying tribute to its own Artists and showing them the appreciation they really deserve. Many Polish Jazz fans are still convinced that only Afro-American musicians can play Jazz and everything happening at home is secondary and meaningless, whereas in fact that is completely contrary to the truth.
| | Updated: 12/04/2019Posted: 30/11/2017 | CD 1 Slipcase Recommend To A Friend |
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