Espen Eriksen Trio You Had Me At Goodbye (Rune Grammofon)
Espen Eriksen (piano) Lars Tormod Jenset (bass) Andreas Bye (drums)
Eriksen and his trio have put forth a delightful debut. You Had Me At Goodbye combines the soft folk, classical jazz of many fellow Scandinavian artists. The trio blend melodic themes and lyrical structures that set a quiet atmospheric mood.
You Had Me At Goodbye is something of a departure for the bands label, Rune Grammofon which has been known for more experimental, free form and abstract concepts from artists like Supersilent, Elephant9, Food, Scorch Trio and Motorpsycho. Eriksen Trio is much more in the vein of ECM recordings than latter.
This is an album that will definitely please listeners looking for something rich and pleasant on the ear. Recent recordings by Kit Downes, fellow Norwegian, Helge Lien also come to mind when I listen to Eriksen. I'm stirring clear of the obvious E.S.T. comments because I really don't see the comparison.
"Grinde" and "Masaka Tsara" display a cleaver bit of adventure with some great interplay between Eriksen and Jenset with Bye and nice brushes of timing. This is a trio with a crisp sound that resonates individually as well as a unit.
"Not Even In Brazil" is the definite standout for me. A rhythmic uptempo number that really shows the dynamics of the trio, especially for Bye. Bye's performance moves from soft to infectious and back again. Eriksen adds some solid movement of his own throughout the piece. Warm, touching and glowing--a beautiful number.
"On The Jar" might be the most distinct track on the album. It has a blues/gospel tinged that moves quite effortlessly with some wonderful bass lines from Jenset.
You Had Me At Goodbye isn't perfect but for those looking for a delightful entry point into late night jazz this is well worth your time. I did enjoy this record allot but there isn't a great deal to make it standout from the other trio records over the last 12 months but you should be the final decision not me.
There were a couple of albums I didn't get a chance to write about in our Best Of 2010 list. More because I was ill for a few days and couldn't put brain to computer to get the words out. These are by no means "honorable mentions". These are fantastic and in some cases (Jason Adasiewicz, Curtis Fuller, Kris Davis and Ricardo Gallo) phenomenal records that are worth every moment hunting down.
Ricardo Gallo Resistencias (Laidstrito Fonica) Kris Davis Good Citzen (Fresh Sounds/New Talent) Brian Eno Small Craft On A Milk Sea (Warp Records) Curtis Fuller I Will Tell Her (Capri Records) Tom Rainey Pool School (Clean Feed Records) Keefe Jackson Seeing You See (Clean Feed Records) Magnus Broo Swedish Wood (Moserobie Music) Jason Adasiewicz Sun Rooms (Delmark)
I discovered a lot of new music this year. This was in part to some great friends, musicians, record labels and other blog writers. I especially wanted to mention my two favourite blogs Minimalistic Music and Jazznyt. Both are a little more avant garde than JazzWrap and provide a different perspective on the global community.
In addition, contributing editor, Kristopher Spencer has the insansely insightful site Scorebabythat discusses soundtrack music from every part of the globe as well as a great book on soundtracks that he wrote a year ago which you must own. I highly recommend you check them all out.
We have enjoyed working with and hearing from everyone and we hope to continue with some great new material in 2011. I hope you dig the music and have discovered some cool stuff. For us its all about turning people on to music that's both accessible and adventurous. As always we want to hear from you as well. So if you have a record you feel would be a great fit for us to know about please let us know.
And we are looking forward to another solid year of adventure in 2011.
Video: Tom Rainey Trio (Tom Rainey, Mary Halvorson and Ingrid Laubrock)From all of us at JazzWrap, thank you.
Dave Stapleton (piano) Between The Lines (Edition Records)
Another surprise album for me this year was from Dave Stapleton, the young but highly accomplished pianist/composer from England and his impressive quintet. Their third album Between The Lines (Edition Records) was one of those consistently rewarding listens throughout the year. I found myself having a new favourite song with every listen.
Stapleton's classical training and a strong dose of Herbie Hancock is apparent throughout Between The Lines. The album starts with the melodic drone of "October Sky" and then really kicks into gear with the funky psychedelic rhythms of "Horn" obviously the focal point for the Bruce and Waghorn, whom both shine brightly on here and throughout Between The Lines. "Horn" is really killer and set a perfect fresh and exciting tone for the rest of the session.
While the rest of the British jazz community is stretching the boundaries of the avant garde, Dave Stapleton is using the tradition and improving upon it. This is really, really compelling stuff from a band that has definitely been together awhile and knows each other inside and out. "Socks First" shows the delicate nature of the band some truly exquisite simpatico as each member features prominently. The titled track, "Between The Lines" starts with some lovely playing by the rhythm section and some understated piano work from Stapleton. A lovely number for those you wishing for a glass of wine with your jazz.
Lots of funky interplay take place on "Wig Wag" between Paula Gardiner (bass), Jonny Bruce (trumpet) and Ben Waghorn (sax) which could be placed along side some of the better moments of Jools Hollands or mid-period Branford Marsalis works. Fun, exuberant exchanges with lots passion built into ever note.
"Under The Cherry Tree" is the band performing a lovely ballad in the vein of Keith Jarrett and Sonny Rollins and moves with great ease taking the album to a wonderful conclusion with "Images" a sparse romantic number highlighting Stapleton's classical tradition on piano and again some great work from Waghorn.
In a year dominated with E.S.T. clones and avant garde creativeness (Not that there's anything wrong with avant garde. That's what JazzWrap is based on for crap sakes.) Between The Lines is a refresh and absorbing release that can be enjoyed on many levels. One of 2010 contemporary masterpieces.
Thomson Kneeland (bass) Jordan Pearlson (drums) David Liebman (sax)
This year I spent a lot more time discovering new artists than any other time in my life of music. It has been fantastic. One of those little discoveries was Bobby Avey and his fantastic debut, A New Face (JayDell Records). This was an album that I automatically got switched on to with the first listen. While Avey isn't a complete debutant (he has worked with Dave Liebman in the past) his debut does sound a bell that there is a new voice thinking creatively and willing to take chances.
A New Face opens with "Late November" a multi-layered piece driven by Avey's delicate improvising at the piano and countered by some stellar interplay from Pearlson and Kneeland. The trio have been together for over five years so the understanding of each members movements is expected but it is still impressive to capture it in one session throughout the entirety of the recording.
The group are joined by longtime collaborator, David Liebman for four numbers including the title track "New Face" and "Time Unfolding". Liebman's playing is exquisite and fierce throughout and probably one of the best sessions I've heard him perform. The two show a unique bond on the duet "Influence", a lovely ballad that flows effortlessly into a battle of interplay resulting in a pleasant hypnotic denouement. A really beautiful piece that is probably my favourite track on the album.
A New Face closes with "Time Unfolding", a blistering quartet piece which Liebman leads the trio through a series of crisp, distinct and rolling rhythms that allow each member to stretch their abilities. Avey's movements are precise and mature--exactly what you expect from young and creative new comer. A New Face is an excellent debut that I couldn't stop listening to throughout the year. I keep thinking to myself "this album can't be that perfect"--but you know what--it's that good. One of my favourite discoveries of 2010.
