Så er vi inne i årets siste måned. Vinteren er her, og de kalde, mørke kveldene har, sammen med korona-pandemien, isolert oss i stor grad fra omverdenen. Derfor er det godt å ha musikk på LP eller CD til trøst og oppmuntring. Og her er hva de europeiske jazzmagasinene har lyttet mest til den senere tiden:
Cim Meyer, Jazz Special:
JACQUES KUBA SÉGUIN «Migrations» (Odd Sound)
Lars Mossefinn, Dag og tid:
EGIL KAPSTAD TRIO «Live at Molde Jazz» (Ponca Jazz Records)
Matthieu Jouan, citizenjazz.com:
LUCIA CADOTSCH «Speak Low II» (We Jazz Records)
Axel Stinshoff, Jazz thing:
HANG EM HIGH «The Kidnapping of Ståle Storløkken» (Boomslang)
Luca Vitali, Giornale della Musica:
J.PETER SCHWALM, ARVE HENRIKSEN «Neuzeit» (RareNoise Records)
Madli-Liis Parts, Muusika:
RAIVO TAFENAU AND TALLINN CHAMBER ORCHESTRA «The Same Differences» (Raivo Tafenau 2020)
Paweł Brodowski, Jazz Forum:
STEPHAN BRAUN AND MATEUSZ SMOCZYŃSKI «Keep on Turnin’» (Seifert Records)
Mike Flynn, Jazzwise:
WILL VINSON/GILAD HEKSELMAN/ANTONIO SANCHEZ «Trio Grande» (Whirlwind Recordings)
Anna Filipieva, Jazz.Ru:
SNAKE STEAK «Emotions» (Nikolai Kulikov)
Jan Granlie, salt-peanuts.eu:
MARIA KANNEGAARD TRIO «Sand i en vik» (Jazzland)
Christine Stephan, Jazzthetik:
EVA KLESSE QUARTET «Creatures & States» (Yellowbird / Edel:Kultur)
Viktor Bensusan, jazzdergisi.com:
CHRISTIAN WALLUMRØD ENSEMBLE «Many» (Hubro)
Henning Bolte, Written in Music:
TANIA GIANNOULI TRIO «In Fading Light» (Rattle Records)
Peter Slavid, LondonJazz News (UK)
DJANGO BATES «Tenacity» (Lost Marble)
Patrik Sandberg, JAZZ/Orkesterjournalen:
ALBERTO PINTON «All the difference» (Clear Now Records)
Why did I choose –
Not many people would quarrel with the description of Charlie Parker as a genius, and in Europe there are many of us who would want to put Django Bates in the same category.
Bates and his Belovèd trio, with Petter Eldh on bass and Peter Bruun on drums, have been interpreting Parker’s music for more than a decade. This album, recorded in 2013, joins them with the outstanding Norrbotten big band and a selection of guests including Finnish guitarist Markus Pesonen, Norwegian tuba player Daniel Herskedal and British (Canada-born) trombonist Ashley Slater.
As a double celebration of Parker’s centenary and Bates’ sixtieth birthday the music demonstrates Bates’ affection for Parker’s melodies whilst completely reinventing them with the complex, witty and sometimes baffling mixture of rhythms that is Bates’ trademark.
Melody is what connects us, mood
is what touches us, rhythm is what
is in our breathing, what makes us
move and feel together, texture is
what makes us curious and wondering …
IN FADING LIGHT: a work from the beehive, a work with piano, oud and trumpet consonant with each other conjuring those sides in unifying compositions of great clarity, compositions distinguished by byzantine tinges, captivating dynamics, magical tonal shadings, wild underlying rhythms and moving moods that shift through shines of light.
Released by the Zbigniew Seifert Foundation, this is an unassuming first recording venture of the amazing string duet that features world class virtuosos: the German cellist Stephan Brown and the Polish violinist Mateusz Smoczyński (a pillar of the Atom String Quartet and a one-time member of the Turtle Island Quartet). Stephan plays four- and five-stringed cellos, Mateusz – violin and baritone violin. To further widen their pallette of sounds and colors both are using loops and electronic effects. Most of the reportoire is drawn from old classics of fusion, such as Billy Cobham’s Stratus, Stevie Wonder’s Higher Ground, or Zbigniew Seifert’s Turbulent Plover, but also add their originals. „Keep on Turnin’” is an exhilarating encounter, full of fresh ideas, energy, joy, and imagination.
Christian Wallumrød is an avant garde troubadour, a composer and performer of serialist medieval music with add-on electronics. The veteran percussionist Per Oddvar Johansen adds a lot to this minimalist album and the combo of piano, trumpet, sax, cello and drums creates a unique soundscape. Many contains mnemonic songs like El Johnton; and Staccotta sounds more than just an intentional typo…
It happens from time to time, when you sit down to look down and listen to music, that the emotions just take over. Without noticing it, tears flow, and you only discover it when you feel the lump in your throat. Because there is something about Kannegaard’s music that triggers strong emotions in an «old body». And that’s good! It’s infinitely good in the time we live in right now! There are hundreds of incredibly talented pianists out there, who play technically brilliant and who write fantastic compositions. But I do not know of anyone who writes more compositions than Maria Kannegaard. And together with the fantastic Ole Morten Vågan on bass and responsive and creative Thomas Strønen on drums, this is a trio that takes the tradition from Bill Evans and Paul Bley, and puts it into its own context, where everything is so natural and beautiful, and where the three musicians are so to the degree in the same element, that it is a joy to hear.
Why? That’s simple. And that is the answer: it’s simple. A bit acid, a bit rock, more than quite a bit loud, and rather funky. The band is based in Moscow, and co-led by guitarist Nikolai Kulikov (originally from Arkhangelsk in the very north of Russia) and alto saxophonist Pavel Skornyakov (originally from Ufa, located where easternmost outskirts of Europe meet Asia.) Not likely places to expect some hot disco jazz funk to emerge from, but that’s what they serve on this album. Both have other bands where they play modern (and quite sophisticated) jazz, but this cooperative outlet helps them to channel their other passion: simple, yes, but fun.
For the second time (after Speak Low) the fantastic trio hits the charts again. The standards are chopped to the bone, the almost circular breathing of Otis Sandsjö’s saxophone dampens the bounces of Petter Eldh’s bass and lets Lucia Cadotsch’s voice set the lyrics in balance, between singing and whispering. Wonderful.