‘Pinball’ – Marius Neset

Pinball

IF THE NAME Marius Neset hasn’t yet entered your vocabulary, or his staggering musical proficiency not already hit your ears… then, with this latest album, Pinball, prepare for a life-changing jazz experience!

The Norwegian saxophonist and composer first erupted onto the wider European scene only four years ago with debut Golden Xplosion, and the ensuing releases – Birds (Edition, 2013) and Lion (ACT, 2014) – each time, left mouths gaping wider at the technical precision and impassioned musicality of the performances and writing. Some say he is the Parker or Coltrane of our time, with clear echoes of Brecker and Garbarek, and it’s unlikely to be an exaggeration that his distinct imprint on the progression and broadening of the jazz genre is creating, for us, the same revelatory tremors (turn out the lights, listen… and the saxophonist surely couldn’t be anyone else).

Mentored by Django Bates, that same sense of perpetual exploration and living on the edge is evident in Neset’s music – but it is also ingrained with atmospheres which reflect the musical folk traditions and awe-inspiring landscapes of his homeland, resulting in a rich combination of raw excitement and deep emotion. And, with every new release, the complexity and beauty of his compositional outpourings become impressively aggrandised.

Early in 2014, and in Mahlerian ‘composing hut’ spirit, Neset tucked himself away in a Norwegian mountain cottage and was inspired “to write almost a whole album”, specifically with his band colleagues (mostly from the Birds album) in mind – Ivo Neame (piano, Hammond), Jim Hart (vibes, marimba), Petter Eldh (bass) and Anton Eger (drums, percussion), plus special guests. Neset’s association with Eger runs deep, both collaborating here on production as well as some of the writing.

Title track Pinball conveys the overarching character of these twelve numbers – meticulously-conceived melodies, yet the varietal moods, audacious polyrhythms and fervid, darting improvisations make it all so entertainingly unpredictable. Mesmerising clapping and flutter-tongued flute herald World Song Pt. 1, a joyous, African-imbued opener filled with chattering folk dance riffs and soaring tenor; Pt. 2 is more ruminative – with distant knell, quivering cello and elegiac violin – until Jim Hart’s eloquent vibes resound up into the skies to summon a sunshiny recapitulation. The album’s effervescence is punctuated by calmer interludes, the subterranean resonance of Petter Eldh’s bass and Eger’s slow drum in Odes of You remarkably soothing, combined with Ivo Neame’s Hammond/piano and Neset’s lyricism.

Police (for silent movie buffs) portrays all the cheeky, madcap clatter of the Keystone Cops; with Marius’s tenor and sister Ingrid’s flute so chirpily yet accurately synched, it’s a real smile-raiser. Evoking thoughts of Neset’s haunting 2012 album with Daniel Herskedal (Neck of the Woods), Music for Cello and Saxophone is a fascinating echoic ‘duologue’ in which both instruments intertwine so convincingly; and the later Music for Drums and Saxophone finds Neset sharing the percussive possibilities of his tenor with Eger’s pin-sharp rhythms in a delicate, trance-like episode.

Never pass up the opportunity to catch this band live (tour dates here), Theatre of Magic offering a glimpse of the divergency of their craft as Marius, here with the illusion of playing both tenor and soprano, leads its glorious vivacity. Swirling Aberhonddu, presumably a nod to Brecon’s much-loved jazz festival, might suggest the capricious climatic conditions up on the Beacons, whilst Jaguar showcases the leader’s forceful soprano rapidity. His sparkling, trademark ‘duotone’ tenor announces Summer Dance, an astonishingly detailed Irish reel-like celebration coloured warmly with Hart’s marimba, before layered sax end-piece Hymn from the World reverently closes.

Released in the UK on 2 February 2015, the spine-tingling musicianship of Pinball makes it an irresistible repeat player!

Further information and audio samples at ACT Music.

 

Marius Neset tenor saxophone, soprano saxophone
Ivo Neame piano, Hammond B3, a.o.
Jim Hart vibraphone, marimba
Petter Eldh double bass
Anton Eger drums, percussion
with
Andreas Brantelid cello
Rune T. Sørensen violin
Ingrid Neset flute
August Wanngren tambourine
Pinball band clapping

mariusneset.info

ACT Music – ACT 9032-2 (2014)

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‘Life to Everything’ – Phronesis

Life

HOW MIGHT ONE define ‘supergroup’? In some popular genres, it may well constitute questionable talent, shallow fame, social media infamy, gold discs, the trashing of hotel rooms or hanging around a decade too long in hideously bright designer lounge suits!

OK, so a tongue-in-cheek generalisation. But, in the case of Phronesis, that hugely popular Anglo-Scandinavian powerhouse of contemporary jazz, their success refreshingly reflects their consummate musicality, impassioned creativity, unequivocal scholarship and acceptance of the challenge to be different. Double bassist Jasper Høiby, pianist Ivo Neame and drummer Anton Eger feature prominently, and separately, in many of today’s exciting line-ups. But, make no mistake… when they slot together to record and perform as Phronesis, selling out venues from the UK to the USA and Canada, and to Australia, this trio becomes one of jazz’s supergroups.

With three studio albums to their tally (most recently, 2012’s Walking Dark) and already an acclaimed live album (Alive!, 2010), Danish-born Høiby is widely acknowledged as the band’s architect. But any thoughts of hierarchy end there, for the three have worked together in this remarkably balanced collective for almost a decade, committing themselves to the development of a wholly unified approach and honing what can only be recognised as complete mastery of their art.

In this new live release – recorded before enthusiastic in-the-round gatherings over three nights at The Cockpit during 2013’s EFG London Jazz Festival – the trio demonstrate more clearly than ever their established, democratic principle of writing and performing. And rather than interpreting previous studio album material, they bravely unleash a blistering, multi-layered assault and ‘batterie’ on the senses with nine astonishingly intricate new works, evenly sharing the compositional credits. Since its release a few weeks ago, I have been drawn deeper and still deeper into this mesmerising hour-long spectacular, increasingly rewarded by the staggering display of telepathy, invention and musicianship – and Phronesis clearly revel in and respond to the close, attentive appreciation of their audiences.

Visually and sonorously the trio’s backbone, Jasper Høiby ‘lights the touch paper’ with his pliant bass intro to Anton Eger’s Urban Control. The piece bursts into life with customary fervour, Ivo Neame’s piano glistening over Eger’s skittering percussion and Høiby’s unyielding exploration of the fingerboard. Phronesis always balance improvisation and tight mechanics so perfectly, blending expressive freedom with pin-sharp communication and structure, resulting in the most engaging of experiences. Phraternal finds a rare moment of contemplation, led by the composer’s piano; and, in contrast, the nine minutes of Høiby’s Behind Bars are simply breathtaking, building in intensity, yet so finely calculated – and Eger’s contribution (to see is to believe!) is frenetic almost beyond words.

Ever the searchingly-melodic pianist, Ivo Neame’s Song for Lost Nomads skips to his staccato left hand, Høiby and Eger tracking every phrase; and the smouldering Wings 2 the Mind from Høiby, with those now-characteristic Phronesis unison piano and bass phrases, bubbles away until anticipatory chimes coax this almost peerless drummer into another powerful display. No let-up in momentum, Nine Lives flies like the wind – and the writer’s double bass dexterity would be quite unbelievable had I not witnessed it many times before.

Neame takes a subtle step into the spotlight in his sprightly Deep Space Dance – a distinctive, creative pianistic style which is upheld beautifully by his colleagues. Two compositions from Anton Eger complete the album. Herne Hill shimmies infectiously (much to the delight of the audience), exhibiting such intelligence and shared understanding of dynamics and tempo. And, finally, Dr Black sums up the essence of this compelling trio, seemingly throwing at it every technique they possess, including a drum showcase which no doubt includes various kitchen items except the sink! – every time, a real thrill to listen to.

Life to Everything is likely to hit very high on the 2014 jazz seismograph, such is the calibre of these performances – and all from a set of live (and particularly superior) recordings. Released by Edition Records on 7 April, audio samples and purchasing options can be found here.

“Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything” (Plato)


Jasper Høiby
double bass
Ivo Neame piano
Anton Eger drums

Photography: Dave Maric
Design: Darren Rumney

phronesis.com
editionrecords.com

Edition Records – EDN1050 (2014)