REVIEW: ‘Uma Elmo’ – Jakob Bro, Arve Henriksen, Jorge Rossy

SLOW-BURNING, ruminative, even introspective, Uma Elmo is an intriguing new collaboration between electric guitarist Jakob Bro, trumpeter Arve Henriksen and drummer Jorge Rossy.

Danish-born Bro’s original compositions are true to the elevated spirit of ECM Records, this being his fifth album as leader for the label. Recorded in the late summer of 2020, when the increasing tremors of a virus-torn world had already begun to shake the foundations of artists’ livelihoods, this esteemed trio entered the studio with respected engineer Stefano Amerio to produce an hour of both abstract and melodic sounds which, Bro says, reflect (as always) what is going on around them. The album title doesn’t require translation – it’s simply derived from the middle names of the guitarist’s two young children, with much of this music apparently composed around his newborn son’s naps.

The name of Norwegian trumpeter Arve Henriksen is familiar to many through ECM recordings which have included his own Cartography (2008) as well those of Tigran Hamasyan, Trygve Seim and Trio Mediaeval; and Spanish drummer Jorge Rossy has worked with a long catalogue of jazz luminaries such as Brad Mehldau, Joshua Redman and Wayne Shorter. Bro himself formerly played in Paul Motian’s Electric Bebop Band and and was a member of Tomasz Stanko’s Dark Eyes Quintet.

It’s fair to say that these shifting, minimal landscapes won’t realise their potential if only allowed cursory attention. Conscious immersion is key to the listening experience – and then the effect, though low in dynamic or compositional variance, progressively rewarding.

Reconstructing a Dream (previously recorded many years ago with Paul Motian) heralds the focused landscapes the trio inhabit in a shadowy, sustained episode. Reminiscent at times of Pink Floyd’s ‘Shine on You Crazy Diamond (Part 1)’,  it develops texturally and dynamically, Henriksen’s simple improvisations becoming more complex over turbulent drumming and overdriven guitar and electronics. To Stanko, dedicated to the late Polish trumpeter, finds the guitarist’s clear, lapping accompaniment (redolent of ‘Spanish Romance’ – Sor, et al.) wistfully supporting Henriksen’s dry, breathy improvisations; and Rossy’s sparse colouring around the kit is especially effective.

The more one listens, the more the detail emerges. Beautiful Day’s gong-like effects and tunnelled echoes underpin busy percussion as Henriksen’s inquisitive and increasingly agitated lines explore a piece which curiously belies its title. In Morning Song, an aubade of gently burbling electronics and cymbals uplift soft, sunrise trumpet and guitar melodies that attractively rise and then fall to earth (its later variation, though, appears so subtle that a more contrasting take would have been welcome). Across eleven-minute Housework, Arve Henriksen’s effected, rasping trumpet produces low-register impressions reminiscent of the baritone sax of John Surman before its pellucid ‘after the rain’ atmospheres are suffused with heavier, prog-style guitar.

In spacial Music for Black Pigeons (titled by and dedicated to the memory of another of Bro’s musical associates, saxophonist Lee Konitz), Henriksen’s high, muted melodies possess a beguiling vocal quality, their electronically intervallic mystery also suggesting Debussy’s ‘Syrinx’. Sound Flower slowly unfurls to Bro’s calmative, rippling guitar effects, its sense of measured expectation highlighted by cymbal flashes and aspirational trumpet phrases; and Henriksen’s beautiful, melodic falling pairs in Slaraffenland (again associated with Paul Motian) offer a freeform mood of fragile optimism.

Expressing that hope, the quietly persuasive meanderings of Bro, Henriksen and Rossy can be a balm to the soul – if given space and time.

Released on 19 February 2021, Uma Elmo is available from ECM Records and Proper Music.

 

Jakob Bro guitar
Arve Henriksen trumpet, piccolo trumpet
Jorge Rossy drums

jakobbro.com
arvehenriksen.com
jorgerossy.com

ECM Records – ECM 2702 (2021)

REVIEW: ‘Liberetto III’ – Lars Danielsson

Liberetto III

A KEY FASCINATION with Swedish bassist, cellist and composer Lars Danielsson’s Liberetto III is that his original music’s instrumental fluctuations and juxtapositions frequently pose thoughts of “What is that instrument or combination of sounds?”

The third of the bassist/composer’s recordings under this title again brings together guitarist John Paricelli and drummer Magnus Öström to form the core quartet, this time with pianist Grégory Privat; and as before, some of Danielsson’s twelve new pieces also feature a clutch of guests (including returning trumpeter Arve Henriksen) to further varicolour the attractive, pictorialised soundscapes.

German label ACT Music (this year celebrating its 25th anniversary) has successfully continued to discover and nurture a distinctive, European ‘family’ of artists; and Danielsson’s output is very much a part of its prolific release catalogue – typically cosmopolitan, infused with cross-cultural atmospheres and refractions, defined by a welcome lack of boundary. Describing the project’s development, he refers to the band having a ‘sixth sense’ which comes from playing together so much; and this surely is a factor in why this array of ebullient, haunting and even spiritual expressions melds together so well across the album’s fifty-five minutes.

Lars Danielsson’s melodic approach is not unlike that of German bassist Eberhard Weber, and his bright, lyrical vibrato is prominent in opening numbers Preludium and Agnus Dei, with the latter’s warm, hymnal equilibrium emphasised by Arve Henriksen’s subtle trumpet and Björn Bohlin’s oboe d’amore. With Magnus Öström driving the precise energy of numbers such as Lviv, there’s a pleasing inevitability of his brushed ‘perpetuum mobile’ summoning e.s.t., confirmed by Danielsson’s searing, screeching strings in Dawn Dreaming. Hussam Aliwat’s oud and John Paracelli’s acoustic guitar enhance the dusky, heated Arabic flavours of Taksim by Night and also (showcasing Grégory Privat’s rapid, pianistic flair) catchy Sonata in Spain.

The clear, reverential aspects of the bassist’s compositions and arrangements are particularly magnetic – from the melancholy trumpet phrasing and wordless vocal of Henriksen in Orationi (which also features an achingly beautiful solo from Danielsson) to a similarly wistful pastorale, Da Salo, painted with exquisite, teardrop watercolours from Bohlin’s English horn. The appealing African-lute timbres of Danielsson’s gimbri are given a contemporary twist in Gimbri Heart as chromatic trumpet and sustained effects prompt the leader’s flamboyant rock cello; and the echoic, French elegance of Mr Miller (US bassist Marcus Miller also, incidentally, a master of the gimbri) suggests the romanticism of Fauré’s ‘Pavane’ and Ravel’s ‘Bolero’ – glimpses of European classical and folk, throughout this album, add so much.

To close, affably scurrying guitar lollipop Affretando spreads soft sunshine with theme-tune-like memorability until slow, eventide bossa nova Berchidda seemingly honours Antônio Carlos Jobim in sublime suspension, featuring Danielsson’s dulcet high-bass melodies, with great attention to detail.

Released on 26 May 2017, Liberetto III somehow casts a spell… a real joy to hear, again and again.

Available from ACT Music, Amazon and iTunes.

 

Lars Danielsson double bass, cello, piano, wah-wah cello, gimbri
Grégory Privat piano, Fender Rhodes
John Paricelli guitars
Magnus Öström drums, percussion
with guests
Arve Henriksen trumpet
Dominic Miller acoustic guitar
Hussam Aliwat oud
Björn Bohlin English horn, oboe d’amore
Mathias Eick trumpet

ACT Music – Act 9840-2