‘ELDA trio’ – ELDA trio

ELDA

THE VOICE that launched… well, a whole new expression of jazz unveils her eponymous debut recording with Slovenian accordionist/vocalist Janez Dovč and Brazilian-born percussionist/vocalist Adriano Adewale – ELDA trio.

Over the last few years, award-winning Swedish singer Emilia Mårtensson has graced a number of fine recordings, such as those of Kairos 4tet (including Everything We Hold) and her own solo albums (the most recent, Ana). Based in London, she is unsurprisingly in demand for various jazz and cross-genre projects, the dexterity, warmth and Anglo-Swedish clarity of her voice so fascinatingly distinctive and desirable.

Mårtensson explains that the concept of providing a confluence for their own cultural and musical experiences was an exciting prospect for the trio – the idea of creating, through the folk music/tales of their three countries of origin, a space to develop and express new compositions with differently-timbred voices, traditional instruments and electronics. From the resultant twelve tracks – mixed, mastered and produced with the reputable expertise of Alex Killpartrick and Chris Hyson – unfolds an atmospheric, enchanting thread of emotion, longing and joy which feels as peerless as it is beautiful.

Much of the album was conceived by Mårtensson in Izola, on the coast of Slovenia; so it’s greatly inspired by the sea, especially her grandparents’ story of how they moved from Slovenia to Sweden (and her empathy with accordion music stems from the impression made on her by her grandfather’s talent for the instrument). So a strong element of adventure and journeying is evident both in Mårtensson’s sincere delivery of her poetic lyrics (“I’ll always remember when the moon fell asleep behind the hill”) and in the chameleonic chordal and percussive invention which Dovč and Adewale supply – and that sense of the unknown, throughout, holds the attention.

Dusky memories in Stone Agaton are emphasised by Adewale’s deep chantings, accompanied by earthy percussion; and songwriter Jamie Doe’s positive, accordion-pulsed love ode, Winter, appears to sneer at the darkest season (“So put on all your jumpers and scream around the house”). Homely, descending chromatics, along with Mårtensson’s warm, high tones, are a joy in Barnaby Keen’s The Air Holds a Memory, whilst the contrasting themes of exile in Aleksandrinke touch the heart, emphasised by the watery swell of udu; and tranquil, overlaid vocals alone in To the Sun, To the Moon evoke cool, clear skies above silhouetted forests.

Rhythmic Mårtensson/Dovč composition Hon Och Han might suggest it has long been rooted in tradition (redolent of, say, Trio Mediæval’s output), even with an anthemic, Coldplay-like chorus; and following, sustained by bass synth, the vocals of Dovč’s slow, mysterious The Tree cry upwards to the moon. Quirky hoots, squeaks and clangs in Jac Jones’ Ellis Dreams are interspersed with a blithe vocal/synth melody; and the hollow, echoic interpretation of Swedish folk song Remembering/Vem Kan Segla further confirms Mårtensson’s clear communication with Dovč’s sensitive accordion phrasing.

A mesmerising solo from Adewale – I am dreaming with you – is quietly disconcerting, with shouts and percussive rattles three-dimensionally coming in and out of range through the darkness; the Konnakol introduction of Dovč’s Tillsammans curiously evolves into a hint of melodic, swingin’ Sixties; and Adewale’s trio curtain-call, Lobo Guara, fizzes with joie de vivre (Emilia perhaps overdoing it on the punsch!).

Catalogue it in ‘jazz’, ‘folk’ or ‘world’… wherever, ELDA trio is a beautiful experience.

Released on Two Rivers Records, on 23 September 2016, and available from Bandcamp.

 

Emilia Mårtensson vocals
Janez Dovč accordion, synth bass, electronics, vocals
Adriano Adewale percussion, vocals

eldatrio.com

Two Rivers Records – TRR014 (2016)

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‘China Lane’ – Alice Zawadzki

CDWalletCrescent_DW-WithSpineNew.pdf

FROM THE DELICATE opening riff of this debut release, singer, songwriter, violinist and pianist Alice Zawadzki has me enraptured. A number of years in gestation, China Lane offers a unique and pleasantly beguiling approach to jazz, folk (call it what you will) which is enduringly irresistible.

Comprised mostly of originals, this collection can be curious, unpredictable and maybe even eccentric – but it is this bold individuality which sets it apart. And, with the immense musicality of friends such as Kit Downes (Hammond), Alex Roth (guitar), Jon Scott (drums) and Andreas Lang (bass) on board, as well as strings and associate voices, this is a magical journey with a breadth that takes in stories of love, tenderness, desolation, discord and mischief. Zawadzki’s assured vocal delivery – heard also in Moss Freed’s excellent Moss Project (album review here) – is, for me, redolent of the invention of Annette Peacock and Björk, with a touch of the light, new-age folkiness of Sally Oldfield – yet it also possesses a rich and passionate depth which particularly comes to the fore in the two arrangements here of traditional Sephardic tunes.

The breathy, brushed, folksy opening number Ring of Fire, featuring Zawadzki’s clear lead vocal and mysterious violin melodies, is the perfect example of the twists and turns to be found in these entertaining fifty minutes. Kit Downes’ distinctive scratchy Hammond gradually nudges further into the proceedings against the sustained wash of Alex Roth’s guitar until, with rapid gear change, Andreas Lang’s double bass signals the glorious blues-jam conclusion, Downes and Roth underpinning Zawadzki’s playful scat-like vocal improvisations which, in the end, seemingly catch them out (to their audible amusement!). Cat is described by the composer as a modern fairytale in which “the ghost of a murdered feline finds its way into the body of a woman with excellent consequences”, the laboured push-pull rhythm provided by Jon Scott and sinewy effects from Downes and Roth – plus close, soulful harmonies – adding to the fantasy. Again, the mercurial nature of Zawadzki’s writing triumphs, Downes turning in a characteristically showy solo.

Indome Para Marsilia (arranged by Alex Roth) whirls and gyrates to its mesmeric folk melody, led by hard percussion and pulsating bass, giving Zawadzki the opportunity to reach vocal highs (Roth’s guitar a key element). Dicho Me Habían Dicho, the more introspective of these two traditional tunes, burns slowly and mystically, Shirley Smart’s typically gritty, wailing cello against Alex Roth’s harmonics enhancing Zawadzki’s brooding tones. The horizontal string-shimmering effect of Low Sun; Lovely Pink Light – with chromatically-climbing harmonies from Zawadzki, Emilia Mårtensson and Fini Bearman, plus Roth’s chorused guitar against Andreas Lang’s resonant bass – is heartstoppingly gorgeous, its rising, crescendoing impressions recalling a Danish winter sunrise. Emotional in other directions, nine-minute You As A Man reveals a tangible poignancy, Zawadzki’s lyricism perhaps at its height (“It’s like selling your feet to make money for shoes; using blood to wash your wounds”). The constant swell and diminuendo of Downes’ Hammond chords provide intrigue to this spiky and discomforting tale of obsessional love, and the whole band’s interpretation of Alice Zawadzki’s intentions match her dramatic vocal expression.

The urbanity of Manchester, including the buses which pass behind the stage of Matt & Phred’s jazz club, provide the subtle background ambience for the closing title track which reflects Zawadzki’s affection for and association with this northern city. Singing at the piano, accompanied by string sextet, she nostalgically paints images of the red sunset-tinged brick buildings of narrow China Lane in the album’s most commercially anthemic number.

As enchanting to experience ‘live’ as in this fine recording, Alice Zawadzki is most definitely one of contemporary’s jazz’s stars of the present and the future, possessing, as she does, remarkable musical dexterity and personality. A fine solo album debut.

Released on Whirlwind on 16 June 2014, further information and purchasing can be found here.

 

Alice Zawadzki voice, violin, piano
Alex Roth guitar
Andreas Lang double bass
Kit Downes Hammond organ
Jon Scott drums
Shirley Smart cello
Emilia Mårtensson voice
Fini Bearman voice
with
Eva Thorarinsdottir violin
Steve Proctor violin
Lucy Nolan viola
Tanah Stevens viola
Peggy Nolan cello
Rosie Toll cello

alicezmusic.com

Whirlwind Recordings – WR4647 (2014)

‘Ana’ – Emilia Mårtensson

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MUSICAL DISCOVERIES are, I believe, waymarkers on a lifetime’s journey of appreciation and enjoyment of the artistic creativity that those blessed with a talent bestow upon us. Once experienced, they stay with us forever, evoking memories of the first unexpected rush of exhilaration that touched our soul.

In 2010, I chanced upon a debut release (Kairos Moment) by hitherto unknown contemporary jazz ensemble, Kairos 4tet. Led by indomitable saxophonist Adam Waldmann, their originality spoke loudly and clearly to me – and amongst the instrumental energy, a jazz vocalist delivered a single heartfelt ballad, Unresolved. Transfixed by its depth and beauty, I went on to discover this solo artist’s own debut album (And So It Goes… with pianist Barry Green) as well as appearances on subsequent Kairos albums and intimate piano-accompanied performances in London and Manchester.

Unsurprisingly, Emilia Mårtensson is rapidly making a name for herself on the London jazz circuit and beyond. A grounding in the folksongs of her native Sweden and standards of the leading ladies of jazz, combined with an admiration for a singer-songwriter genre that includes Paul Simon, James Taylor and Joni Mitchell, has resulted in a meltingly gorgeous voice characterised by sincerity, warmth, dynamic control and endearingly crisp Anglo-Swedish diction.

Masterminded by producers Rory Simmons and Alex Bonney, this second solo release features a particularly inventive instrumental line-up, the spacial detail of which complements and colours Mårtensson’s sensitive approach so appropriately. As before, Barry Green’s expressive and intuitive piano is the perfect match for Emilia’s velvety tones. Rhythmic and ornamental zest is provided via a refreshing range of timbres from Brazilian percussionist Adrian Adewale; and bringing a deep sense of equilibrium is bassist Sam Lasserson. Finally, fashioning the most wonderfully interwoven textures on half of the album’s ten tracks are the Fable String Quartet, whose precision and integrality with this project are outstanding.

Illustrating all of this is opening number Harvest Moon, written by Jamie Doe, Emilia’s soft vocals floating above a gently bubbling momentum. In profound dedication to her grandmother, Ana is communicated with love (Soft, at night, her hand on mine, she says, “Close your eyes before you open up your mind”), Barry Green decorously enhancing the affectionate mood over Sam Crowe’s delicate string arrangement. Barnaby Keen’s Learnt from Love is a standout, the distinctive chord progressions and melody of the chorus, in particular, still lodged in my mind from a live first hearing last July; and Emilia’s voice also displays a brighter, stronger edge.

Tomorrow Can Wait is perfect for Mårtensson, the heart-on-sleeve poignancy of writer Emine Pirhason’s verses emphasised by the initial sparseness of solo piano, and Emilia’s digitally-layered harmonies are used to great effect here, suggesting her folk roots. Traditional Swedish folksong is represented by bass/percussion-accompanied När Som Jag Var På Mitt Adertonde År; and Black Narcissus Music, Joe Henderson’s familiar tune set to Emilia Mårtensson’s skilfully-intoned words, is interpreted breezily courtesy of a great Rory Simmons string arrangement which melds perfectly with the instrumental trio.

Paul Simon’s Everything Put Together Falls Apart comes so naturally to Mårtensson before Green and co. run with it in a jaunty, bluesy direction. Moffi’s Song confirms her own songwriting prowess, its string-led arrangement imbuing this tribute to her grandfather with the feel of an old jazz classic; and to close, a folksy unaccompanied miniature, Vackra Människa – the translation, ‘beautiful person’, so very fitting for this accomplished singer.

Released on 7 April 2014 (in Babel Label’s 20th anniversary year), Ana is available here … a musical discovery awaits.

Video: The Making of Ana
Video: Harvest Moon


Emilia Mårtensson
 voice
Barry Green piano
Sam Lasserson double bass
Adriano Adewale percussion

The Fable String Quartet
Kit Massey violin
Paloma Deike violin
Becky Hopkin viola
Natalie Rozario cello

Babel Label – BDV14126 (2014)

‘Everything We Hold’ – Kairos 4tet

Kairos

SURELY the greatest crime for any creative musician is to stand still – to churn out more of the same, ad infinitum (which, it has to be said, some recording artists are content in doing). But not so, in the case of venturous sax player Adam Waldmann’s ‘Kairos 4tet’. Since their highly promising 2009 debut, ‘Kairos Moment’ and sparkling 2011 follow-up, ‘Statement of Intent’, they have continued to push jazz frontiers to successfully forge a distinctive, progressive path for themselves.

Read the full review at LondonJazz News…

 

Nail Label – naimcd191 (2013)