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
Two Rivers Records – TRR014 (2016)