‘Circle of Chimes’ – Marius Neset

MariusNeset_Circle

SAXOPHONIST and composer Marius Neset’s kaleidoscopic music increasingly fills mind and soul with that ‘kid in a sweet shop’ thrill, the senses bombarded with a dizzying array of timbres and rhythms to assimilate.

Following 2016’s acclaimed, orchestrally-focused Snowmelt, Neset returns to an ensemble more closely aligned with its predecessor Pinball for new album Circle of Chimes. The familiar names of pianist Ivo Neame, vibraphonist Jim Hart, double bassist Petter Eldh and drummer Anton Eger are again joined by flautist Ingrid Neset and cellist Andreas Brantelid, whilst the inclusion of guitarist/vocalist Lionel Loueke adds a new compositional and improvisational dimension, imbuing Neset’s Scandinavian folk characteristics with attractive African hues.

A New Year’s Day commission premiered at Kölner Philharmonie, Cologne, in 2016, Neset describes this 78-minute suite as the darkest, most melancholic music he has created – yet amongst those emotions, his innate, breathless exuberance is never far away. The tubular bell chimes of Satellite (whose fluctuating rhythmic peals the saxophonist experimented with at length, at the piano) ‘ring in the new’, its brooding cello emotion encircled by a passed-around melodic riff redolent of Tallis’ Canon. It’s the first sign of an octet working as one to express a huge, romantically cinematic landscape, segueing into Star which bounces and rebounds to a typically ecstatic folk tune, with Eger’s engine-room clamour driving its disco groove. Neset does well to engineer and contain the ferocity, bringing his electronically-charged tenor down to lyrical pools of cello, piano and soft African enunciations.

There’s a sense of progression, as if the year unfolds with fresh experiences – so funky A New Expression struts assuredly to Neset’s boppy improv (it can only be Neset) plus Loueke’s scratchy, synthesised fretwork and accompanying scat; and soprano sax in classically-inspired Prague’s Ballet dances delicately across pizzicato cello and featherweight marimba. Life Goes On tumbles – nay, somersaults – to Marius Neset’s melodica signature-tune positivity, a sign of Spring in the air as its jazz-orchestra cheerfulness (enhanced by Ingrid Neset’s lithe flute) is gatecrashed by percussion-fuelled vibraphone and pleasantly abrasive guitar chords. Perhaps its the West African influence which sparks such variety, Sirens of Cologne whirling to intoxicating samba grooves, deep vocal resonances, flutey songbirds – a full-on celebration.

Going right back to his 2011 release Golden Xplosion, as well as duo album Neck of the Woods with tubist Daniel Herskedal, Neset has always had a feel for an otherworldliness – and tenor feature Silent Room imagines lofty arches with its suspended sax lines and sensitive bass, piano and vibes support as it spirals into the heavens. At close on twelve minutes, 1994 almost needs separating from the pack to appreciate its fullness as it mesmerises with episodic vibrancy; and the saxophonist’s distinctive solo ‘hiccups’ announce ebullient Eclipse which brings the album’s opening chants and time-evocative carillons full circle.

Neset conceives such incredibly elaborate stories that they can sometimes be overwhelming to take in at one hearing – but Circle of Chimes becomes a joy as that intricate weave is gradually understood.

Released on 29 September and available from ACT Music, iTunes, Amazon, etc.

 

Marius Neset tenor saxophone, soprano saxophone, melodica
Lionel Loueke guitar, vocals
Andreas Brantelid cello
Ingrid Neset flute, piccolo, alto flute
Ivo Neame piano
Jim Hart vibraphone, marimba, percussion
Petter Eldh double bass
Anton Eger drums, percussion

mariusneset.info

ACT Music – ACT 9038-2 (2017)

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‘Snowmelt’ – Marius Neset, London Sinfonietta


Snowmelt

IT ONLY REQUIRES the two-minute solo Prologue to this collection of new material by Marius Neset to be reminded of that first rush of excitement, experienced just a few short years ago, when his distinct, often otherworldly saxophonic approach blew away the senses.

Through the release of his most recent solo albums – BirdsLion and Pinball – a progressive, wider development of Neset’s compositional powers has become strikingly apparent; and now, this collaboration with the renowned London Sinfonietta and long-time jazz colleagues Ivo Neame (piano), Petter Eldh (double bass) and Anton Eger (drums) sees the Norwegian virtuoso realising what is described as his most ambitious, cherished and personal project to date.

Mainly comprising three extended works, the concept for the album was prompted by a 2013 Oslo Sinfonietta commission which Neset wrote for solo saxophone, chamber orchestra and five singers. Already possessing astonishing flair for constructing rhythmically challenging, larger-scale music (2014’s Lion was for jazz orchestra), that fifteen-minute piece spurred the saxophonist on to still greater things – the opportunity to meticulously through-compose, incorporating elements of improvisation, for the combined forces of small orchestra and his own quartet. He explains how working with the London Sinfonietta and their intuitive conductor, Geoffrey Paterson, took his ideas to another level, whilst Neame, Eldh and Eger are now so engaged with Neset’s rhythmical language that they “play it like it was the easiest thing in the world” (summoning incredulous shakes of the head from mere mortals!). Recorded in just two days, at London’s highly-regarded AIR Studios, the outcome is awe-inspiring.

Marius Neset’s contrasting, yet cohesive compositional flow is apparent in seven-movement Arches of Nature – a continuous, 25-minute suite which revels in his masterful orchestration. Appropriately chromatic and discordant, the Bartokian woodwind chatter of Sirens announces a recognisably boisterous sound world which offers a glimpse of how well Neset blends orchestra and quartet, whilst Acrobatics‘ audacious, high-wire tenor antics are heightened by rapidly swirling strings, shrill woodwind alarm, Anton Eger’s skittering percussion, and all manner of intricate details (John Orford’s babbling bassoon delightfully partnering Neset). Halting this intense animation with Janacek-style trumpet fanfare, the lofty arcs of Circles are characteristically traced by Neset’s soprano, sumptuously and emotionally filled out by swelling brass amidst its symphonic splendour; and Caves‘ jazz quartet energy is percussively accentuated by the leader’s gruff, popping tenor and remarkably fleet, exacting orchestration.

As this suite progresses, the sustained thread of Paradise showcases the many guises of Ivo Neame’s piano eloquence, his scampering bass figure especially attractive; romantically lyrical Rainbows unwinds into Getzian tenor-and-strings elegance (though there is never any doubting the saxophonist here); and impudent, showtime finale Pyramiden ripples to phantasmagorical, almost bewildering orchestration.

The Storm is Over further reveals the considered brilliance of this writing – a heavenly ‘land of Cockaigne’ which intriguingly fuses Mahlerian/Brucknerian depth and mystery with a reassuring dance-band warmth, traversed by Marius Neset’s luxurious, soaring and always affecting tenor melodies (so much detail to discover each time). And arguably the album’s main feature – introduced by another gloriously multiphonic solo sax display – Snowmelt brims with Nordic zeal as Neset’s quartet and the London Sinfonietta coalesce so immaculately. Listen closely to the the tonal balance… the orchestral weave… the rhythmic fire… the folksung inflection… the tear-inducing beauty… and, at that moment, there’s nothing creatively or heartwarmingly finer.

Released on 26 August 2016, Snowmelt is available from ACT Music. Promo video here.

 

Marius Neset tenor and soprano saxophones
Ivo Neame piano
Petter Eldh bass
Anton Eger drums

LONDON SINFONIETTA
Geoffrey Paterson conductor
Karen Jones flute, piccolo
Gareth Hulse oboe
Michael Whight clarinet, bass clarinet
John Orford bassoon
Michael Thompson horn
Torbjörn Hultmark trumpet
Byron Fulcher trombone
Jonathan Morton violin (principal 1st)
Miranda Fulleylove violin
Elizabeth Wexler violin
Joan Atherton violin (principal 2nd)
Hilaryjane Parker violin
Charlotte Reid violin
Roger Chase viola
Zoe Matthews viola
Richard Waters viola
Tim Gill cello
Adrian Bradbury cello
Markus van Horn contrabass

All music composed and arranged by Marius Neset
Produced by Marius Neset with Anton Eger

mariusneset.info

ACT Music – 9035-2 (2016)

‘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)

‘Lion’ – Marius Neset, Trondheim Jazz Orchestra

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IT WAS JUST THREE YEARS AGO that a young Norwegian saxophonist, Marius Neset, powered onto the wider European jazz scene, staggering audiences with his breathtaking, mind-boggling tenor and soprano wizardry. Here was a musician with the world at his feet, already leaving excited, jaw-dropped crowds funnelling out of venues, incredulous at what they had witnessed.

Following his album Golden Xplosion (Edition Records, 2011), hailed enthusiastically by critics, and a remarkable duo release with tubist Daniel Herskedal (Neck of the Woods – Edition, 2012 – reviewed here), Neset wasted no time in further broadening his outlook, releasing Birds (Edition, 2013 – reviewed here), which revealed as much about his compositional stature as it did his astounding playing. Although writing for, essentially, a quintet (with Ivo Neame, Jim Hart, Jasper Høiby and Anton Eger, plus guests), it was clear that he could express himself on an orchestral scale, laying down the written complexities of contrapuntal hooks and darting time signatures whilst also communicating and improvising with his colleagues on a profoundly visceral level.

Famously mentored and inspired by Django Bates (at the Rhythmic Music Conservatory, Copenhagen) and influenced by a list of musicians and composers as long as one of Neset’s extended solos (Wayne Shorter, Jan Garbarek, Michael Brecker, Chris Potter, Pat Metheny, Frank Zappa, Radiohead, as well as Grieg and Stravinsky… to name but a few), he now makes his ACT debut with a release which widens his ambition to write for larger forces. Resulting from a commission to compose specifically for the renowned Trondheim Jazz Orchestra’s billing at the 2012 Molde Jazz Festival – including Lion, the ten-minute title track which heads up this recording – Neset decided also to re-visit a few numbers from his previous releases, pulling them all together in this impressive 64-minute outing. The Trondheim’s twelve-piece arrangements, here, often display the variety and openness of orchestral timbres, as well as the sectional horn solidity of a big band – hence the name and their particularly open and eclectic sound – and this, therefore, is the perfect vehicle to deliver the potential of Marius Neset’s vision.

From its disquieting but then stately entry, opening number Lion becomes a boisterous affair very much in the Neset style, brassy stabs leading to a freer environment of imitation growls and general foreboding before Erik Johannesen’s terrific trombone soloing reinstates big band grandeur; and, to close, the ‘king’ slopes into the distance to a more softly pulsating rhythm (tremendous imagery). Golden Xplosion kicks off with Marius’s trademark, hypnotic, ‘self-accompanied’ tenor, punctuated by rhythmically-teasing reeds. Listeners familiar with the original will surely be drawn to this increasingly voluminous, sparky arrangement, Neset extemporising magnificently over Petter Eldh’s pounding bass and Gard Nilssen’s flamboyant drumming. In The Ring appears to be ’round two’ of Boxing (from the Birds album), its hard-hitting drums appropriately packing a punch, and the balance of power, agility and space calculated perfectly (with Neset’s mouthpiece popping to some superb trombone and bari action) – and is that a sense of dazed resignation that follows, before the final knockout?!

A short tenor Interlude leads to Sacred Universe, another creative reinterpretation for this versatile jazz orchestra, Petter Eldh’s industrious, vocalised bass solo opening the floodgates for a real showpiece of ensemble writing and wide-ranging soloing. Weight Of The World rasps brusquely to Eirik Hegdal’s up-tempo baritone and Eldh’s characteristically percussive bass; once again, the diversity and lucidity of the performances need to be heard to grasp Neset’s mastery of arrangement, eventually blazing with brassy brilliance – a real standout. Away from that intensity, Raining is the most luscious of ballads, Jovan Pavlovic and Espen Berg offering homely accordion and piano before the scoring swells; and Daniel Herskedal’s distinctive cantabile tuba combined with Peter Fuglsang’s quietly folksong-like clarinet over muted piano string ‘raindrops’ is otherworldly. Finally, Birds is returned to its grander concept, building instrumentally, one by one, to a thrilling, cacophonous dawn chorus.

Released in the UK on 21 April 2014, Lion is certainly an album to get your teeth into.

Additional information and audio samples here.
Video of Birds at 2012 Molde Jazz Festival here.
Video of Golden Xplosion at Bergen JazzForum, 2013 here.


Marius Neset
 tenor and soprano saxophones
Hanna Paulsberg tenor saxophone
Peter Fuglsang alto saxophone, flute and clarinet
Eirik Hegdal baritone and soprano saxophone
Eivind Lønning trumpet
Erik Eilertsen trumpet
Erik Johannesen trombone
Daniel Herskedal tuba
Jovan Pavlovic accordion
Espen Berg piano
Petter Eldh bass
Gard Nilssen drums, percussion, vibraphone and marimba

Ingrid Neset additional flute and piccolo flute on Sacred Universe and Birds

 

ACT Music – 9031-2 (2014)