REVIEW: ‘Epik, Didaktik, Pastoral’ – Samuel Hällkvist

‘EPIK’ IS THE WORD – but then, that’s the distinctive landscape which Swedish guitarist/programmer Samuel Hällkvist has inhabited in his post-rock-jazz albums such as Variety of Rhythm and Variety of Live. Just as intense as those earlier recordings, Epik, Didaktik, Pastoral blasts out solid walls of polyrhythms and electronics – but this time, there seems to be a greater sense of cohesion; a thread of overall structure, intent and chameleonic colour… if you can handle its unrelenting progression!

Rooted in Hällkvist’s deep, complex grooves – which are shared with his drummers and bassists – there are also contributions from sound designer and programmer Katrine Amsler, plus the smouldering trumpet improvisations of Yazz Ahmed, Noel Langley and Luca Calabrese. Pulsating, evolving stratum of venturesome sounds (the nearest comparison being Nik Bärtsch’s ECM albums) are supported by intriguing sleeve notes which significantly reference ‘self-dividing, self-replicating’, ‘nearly impossible yet entirely real’ and the pertinent phrase, ‘flood the senses’. And there is, indeed, an element of needing to positively submit to these crafted/processed, industrial/urban environments; the reward – an intoxicating, absorbing expedition.

Save for the introductory slide across the fretboard, Hällkvist’s guitars are typically integrated into the whole, demonstrated in opening Vägen Som Landet (The road like the land) as it bustles with funky, woven precision, incorporating reverse-bass riffs, big-band-style stabs and sultry, swirling brass. Utan Vilja (Without will) is rhythmically erratic and challenging, while intensifying movie tension is the dominant force in Hög (High), the first of three tracks under the collective title Dekorum; II and III – Medel (Average) and Låg (Low) – are similarly electrifying. The instrumental mélanges fascinate – Badboll Gles and Blåklocka, Ängsklocka especially for their Steve Reich-suggested impressions of tuned percussion, and 100 Takter Med Piano (100 beats with piano) for its spiky, morse code frenzy, complemented by spiralling trumpet. To close, unusually slow, ominous Omstart leads into Svedjebruk (Shifting cultivation), whose unyielding synth-pop strains find a blistering rock climax.

Dizzying, saturated, unsettling, mesmeric, rousing – any of these might be natural responses to Hällkvist’s ten, dynamic tracks which provide a pounding, sonic adventure almost like no other.

Released on 20 August 2020 (the artist’s 40th birthday), Epik, Didaktik, Pastoral and available in CD format from Burning Shed, as well as CD/digital at Bandcamp; and if streaming is for you – there, too.

 

Samuel Hällkvist guitars, MIDI programming, composition
Knut Finsrud drums
Dick Lövgren bass (tracks 1, 3, 5, 6, 7, 8, 10)
Katrine Amsler sound design, programming (tracks 1, 7, 8, 10)
Anne Marte Eggen bass (tracks 2, 4, 9)
Yazz Ahmed trumpet (tracks 1, 3)
Luca Calabrese trumpet (tracks 2, 6)
Noel Langley additional trumpet (tracks 1, 3)

Cover art by Sophie Bass

samuelhallkvist.com

BoogiePost Recordings – BPCD031 (2020)

RECENT LISTENING: February 2020 (2)

Connections: without borders – Julian Costello Quartet
Julian Costello, Maciek Pysz, Jakub Cywinski, Adam Teixeira
Release date: 28 February 2020 (33 Jazz Records)
www.33jazz.com

The Sleepless Kind – Andy Fleet
Andy Fleet, Andre Canniere, Zane Maertens, Joe Evans, Pete Kershaw, Chez Taylor, Sarah Doe
Release date: 31 March 2020
andyfleet.bandcamp.com

No Boundaries – Andrew Bain
Andrew Bain, Alex Bonney, Peter Evans, John O’Gallagher
Release date: 13 March 2020 (Whirlwind Recordings)
andrewbain.bandcamp.com

Sefrial – Sefrial
Sophie Stockham, Jake McMurchie, Joe Wilkins, Greg Cordez, Matt Brown
Release date: 6 March 2020
sefrial.com

Deep Blue Love – Sarah Thorpe
Sarah Thorpe, Olivier Hutman, Darryl Hall, John Betsch plus T.K. Blue, Josiah Woodson, Ronald Barker, Ismaël Nobour
Release date: 17 January 2020 (Dot Time Records)
dottimerecords.com / amazon.co.uk

Laslafaria – Katrine Amsler
Katrine Amsler, Qarin Wikström, Samuel Hällkvist, Nils Berg, Josef Kallerdahl, Knut Finsrud, Frederik Hauch, Stue Ericson, Stephan Sieben, Mike Højgaar
Release date: 6 March 2020 (BoogiePost Recordings)
katrineamsler.bandcamp.com

RECENT LISTENING: June 2019 (2)

Huw Warren & Mark Lockheart – New Day (live at Livio Felluga Winery)
Huw Warren, Mark Lockheart
Release date: 24 May 2019 (CamJazz)
camjazz.com

Abdullah Ibrahim – The Balance
Abdullah Ibrahim, Noah Jackson, Alec Dankworth, Will Terrill, Adam Glasser, Cleave Guyton Jr, Lance Bryant, Andrae Murchison, Marshall McDonald
Release date: 28 June 2019 (Gearbox Records)
abdullahibrahim.bandcamp

Joshua Espinoza Trio – Journey Into Night
Joshua Espinoza, Mikel Combs, Jaron Lamar Davis
Release date: 14 June 2019
joshuaespinoza.com

Alexi Tuomarila Trio (featuring Verneri Pohjola) – Sphere
Alexi Tuomarila, Mats Eilertsen, Olavi Louhivuori, with Verneri Pohjola
Release date: 28 May 2019 (Edition Records)
alexituomarilatrio.bandcamp

Yazz Ahmed – A Shoal of Souls (single*)
Yazz Ahmed, George Crowley, Samuel Hällkvist, Ralph Wyld, Naadia Sheriff, Dudley Phillips, Corrina Silvester, Martin France
Release date: 5 June 2019 (IXCHEL Records / Bandcamp)
yazzahmed.bandcamp
(*the ‘final chapter’ of album La Saboteuse. New album, Polyhymnia, releases in October 2019)

Sean Foran & Stuart McCallum – Counterpart
Sean Foran, Stuart McCallum
Release date: 21 June 2019 (Naim Records)
seanforanstuartmccallum.bandcamp

REVIEW: ‘Variety of Rhythm’ – Samuel Hällkvist

AN ENTICING, evolving experience which exhibits tremors of 1970s progressive formats, exploratory Swedish electric guitarist Samuel Hällkvist returns with immersive instrumental soundscape Variety of Rhythm.

His Variety of Loud and Variety of Live releases, of 2012 and 2015 respectively, revealed a musician with a singularly experimental vision for composition, instrumentation and improvisation; and he continues to garner respect across music’s cross-pollenating rock, electronica and jazz boundaries, from Roxy Music guitarist Phil Manzanera and ex-Japan keyboardist Richard Barbieri to trumpeter Yazz Ahmed (who reciprocally invited Hällkvist to appear on her recent release La Saboteuse).

Over the course of this continuous suite of almost 45 minutes, Hällkvist collaborates with a dozen musicians – including renowned US guitarist David Torn – through separately-recorded, differing scales of ensemble (in Japan, Portugal, New York, Paris, Belgium and Scandinavia), drawing mind and soul into a fluctuating landscape of sound which prompts the listener to contribute through their imagination. Hällkvist typically becomes part of the whole, integrating his processed guitar through a labyrinth of industrially cinematic drama, repetitively clanging timbres and almost dystopian sustained resonances – yet rather than creating an abstract mishmash, these carefully-woven ideas and illusions gradually become powerfully compelling, especially once they establish themselves in the psyche.

Timed, named waymarkers offer a clue to a conceptual, rock-solid framework interspersed with improvisational interludes (Hällkvist elaborating on the technical and structural aspects here), though the entirety of the work can easily be appreciated from a purely creative, openly-receptive standpoint. Double Adagio‘s rippling, wailing fuzz-guitar wall is propelled by time-shifting voice-and-glockenspiel-like tones, whereas as the more grungy trudge of nine-minute Tete-a-Tete / Blivet progresses into heavy metal, tinged with Steve Reichian attacca strings and ominously soaring guitar. David Torn’s expansive Huly Marga features his searching low-distorted guitar extemporisations against an electronic landscape reminiscent of Pink Floyd or late EST, whilst the extraordinary cross-rhythmic complexity of The Necker Cube, with oriental overtones, spills into subway-sax frenzy, movie-mystery malleted percussion and climactic, grooving grandeur.

Samuel Hällkvist’s maverick, detoured pathways create intrigue, and might initially overwhelm; but put through a responsive sound system, these three-dimensional worlds render in vivid full colour – the excellent concentric/segmented cover graphic points the way!

Released on 13 October 2017, Variety of Rhythm can be purchased digitally at Bandcamp, and is due to be available in gatefold CD format from Discovery Records and Amazon.

 

Samuel Hällkvist guitar
Dick Lövgren bass
David Torn guitar
Liesbeth Lambrecht violin
Qarin Wikström voice
Knut Finsrud drums
Pete Drungle keys
Yasuhiro Yoshigaki drums
Kumiko Takara mallet percussion
Paulo Chagas sax, flute
Silvia Corda various objects
Adriano Orru bass
Katrine Amsler edit, sound design

Mixed by August Wanngren

samuelhallkvist.com
varietyof.com

BoogiePost Recordings – BPCD024 (2017)

REVIEW: ‘La Saboteuse’ – Yazz Ahmed

YazzAhmed

THE SMOULDERING, exotic and aromatic layers of trumpeter, flugelhornist and composer Yazz Ahmed’s La Saboteuse have gradually been infusing my psyche for the past few weeks – and it’s precisely this slowly unfolding, intoxicating weave which makes it both alluring and satisfyingly difficult to pigeonhole. 

Ahmed’s credentials to date speak for themselves, having worked alongside such illustrious names as Courtney Pine, Toshiko Akiyoshi and Sir John Dankworth, as well as appearing on albums by artists including Samuel Hällkvist, Noel Langley and Radiohead; and following on from 2011 solo debut Finding My Way Home, the British-Bahraini musician describes this latest, sumptuous release as part of a long, spiritual journey: “the relationship between the optimism of my conscious self and the seductive voice of my self-destructive inclinations, my inner saboteur”. It quite ingeniously fuses a personal desire to delve more deeply into her childhood experiences – the culture of the Middle East and the sounds of its maqam and folk music traditions – with the already exciting cross-pollinations of the current jazz scene. The resulting assimilation by Ahmed and her sparkling players is a hypnotic, almost continuous work of extraordinary nuance and breadth.

Exquisite illustrations, calligraphy and the trumpeter’s own engaging sleeve notes about the music and each of her personnel instantly reveal a labour of love (also confirming the advantage of artistic completeness which the physical product will always have over digital download or streaming), preparing the ground for immersion in this fragrant, almost hour-long labyrinth. Jamil Jamal‘s alternating seven-then-eight percussive metre is set up by a Rhodes and electric bass pulse, embellished by searching improvisations from the leader’s flugel and bass clarinettist Shabaka Hutchings; and, as throughout the album, details such as echoic guitar and hazy electronics add significantly to the suffusion. Indeed, Ahmed’s mastery of textural effect is much in evidence, as in The Space Between the Fish & the Moon, a mystical expanse of bowed vibraphone, digital oscillations and crackles traversed by blissful flugel.

The fluctuating riches of this recording are magnificent – dark, spacial, contrapuntal and unison phrases in title track La Saboteuse become interspersed with muted Arabian annunciations, whilst Al Emadi‘s brassy effusiveness is carried on a wave of bendir and darbuka, with so many fascinating embellishments contributing to its cinematic mood. The vibes-introduced buoyancy of The Lost Pearl has a subtle redolence of the Modern Jazz Quartet, albeit with syncopated, effects-swirling electric bass rhythms; and all the while, Ahmed’s assured imaginings ripple above. In Bloom, Martin France’s rapid pop-groove injects light into the pervading mystery, its otherwise straight-ahead demeanour glinting with vibes and (at one point, politely screeching) flugel; and Beleille‘s complex network of tonal intrigue (including bizarre electronic manipulations of bass clarinet) makes this one of this album’s most absorbing listens. Delicate miniatures, segued between these expansive pieces, provide a sense of continuity which may well be elaborated upon when performed live – and celebratory Organ External, with a riffy hint of Michael Nyman, intelligently seems to throw everything into the mix with great results, the low timbres of flugel and bass clarinet especially effective.

Yazz Ahmed’s atmospheres are lush, inventive, enticing and an impressive, progressive distillation of her many influences. In short – spellbinding.

Released on Naim Records on 12 May 2017, La Saboteuse is available as CD, LP or digital download from Bandcamp.

 

Yazz Ahmed flugelhorn, trumpet, quarter-tone flugelhorn, Kaoss Pad
Lewis Wright vibraphone
Shabaka Hutchings bass clarinet
Samuel Hällkvist electric guitars
Naadia Sheriff Fender Rhodes, Wurlitzer
Dudley Phillips bass guitar
Dave Manington bass guitar (sponge bass on Bloom)
Martin France drums
Corrina Silvester bucket, bendir, darbuka, krakab, riqq, pins, gongs, waterphone, sagat, frame drum, ankle bells, drum kit

Produced by Noel Langley and Yazz Ahmed

yazzahmed.com

Naim Records – NAIMCD340 (2017)

‘Variety of Live’ – Samuel Hällkvist

VarietyOfLive

IN 2014, following his 2012 studio release Variety of Loud, Swedish guitarist Samuel Hällkvist made the decision to tour Denmark and Sweden in order to satisfy his curiosity of playing live with his strong personnel of Pat Mastelotto (traps & buttons), Qarin Wikström (voice, keys), Guy Pratt (bass) and Stefan Pasborg (drums).

Read the full review at LondonJazz News…

 

Samuel Hällkvist guitars, devices, midi programming
Pat Mastelotto traps and buttons
Qarin Wikström voice, keys
Guy Pratt bass
Stefan Pasborg drums
with
Richard Barbieri keyboards, synthesizers, programming
Mocako Asano voice
Yazz Ahmed trumpet
Denys Baptiste sax
Yukiko Taniguchi voice

samuelhallkvist.com

BoogiePost Recordings – BPCD020 (2015)