1982 Trio

1982 Trio (group)

Nils Okland (fiddle, violin)

Oyvind Sharbo (drums)

Sigbjorn Apeland (Harmonium, Wurlitzer)

Different, distinctive and always captivating. 1982 is a trio that evolved out of three already highly acclaimed Norwegian musicians, Nils Okland, Oyvind Sharbo and Sigbjorn Apeland.


They have been on the improvisational scene for decades and have recorded a number release with each other in duo settings or with other musicians. Only four years ago did they finally band together to record as a trio.

The group's music is a combination of Norwegian folk, improvisation and atmospherics. There are elements of classical chamber music, third stream jazz and organic ethnicity that abounds throughout their work. The trio demands the listener's focus is squarely on the music, hence there are no song titles to allow you to conjure up preconceived notions of the songs origins or meanings.

1982's self titled debut, 1982 (Norcd; 2008), is a work of found ideas and movements that travels slowly but leaves indelible marks along the way. "6:42" rolls out brightly with Sharbo and Apeland practically spray-painting new colours and shapes around your ear. It's all in gentle tones that eventually moves into levitation, lead by Apeland and Okland with Sharbo improvising in and out of the piece.


"4:39" hangs heavy and infectious. Apeland's playing is like more forceful Eno circa Thursday Afternoon or Neroli. Sharbo and Okland intersect quietly on the piece but their minimalist contribution adds an addition mysticism to the piece. The epic "17:39" produces by a Cage-ian and Emerson Quartet quality. It's minimal yet full of life and spirit. You have to let your ear settle into stoic melodic melody before being full engulfed. A wonderful and forward thinking debut.

It wouldn't be until 2011 that 1982 would return to these fertile grounds (after a series of other projects) with Pintura (Hubro Music; 2011). "10:38" explores similar folkish territory but with more depth and richer structure than before. Okland's violin sound inspired and swirls with creative movement. Sharbo delivers a number of lovely touches, strokes and clangs that while improvised are vibrant intersections to the piece. 


"6:02" feels like a suite with all the appropriate tempos (allegro, andante, adagio). They are subtle but for me they are there. Distinct and well balanced, the harmonics elevate and carry you in a joyous manner.

"3:19" and "3:52" both sheds a different light on the trio. They are heavy pieces, "3:19" even having a bit of a backbeat thanks to Sharbo's pulsating kit. Apeland and Okland explore and extend some wonderful exchanges that have a touchingly Nordic while still providing an open adventure for the listener. "3:52" closes quietly but unexpectedly for me. I think it will leave you hanging on wanting more as well.

I have been absorbed with these two records just as I have been with Equilibrium who may be on a similar path as 1982. 1982 are a completely different trio. While working in the same sphere as other European musicians; they are balancing classic traditions and improvised themes to a perfect end.


This is beautiful work from a trio that may get together only occasionally, but every opportunity is worth the time for you to listen. Ranking as one of my favourite albums this year. Highly Recommended.

Fred Lonberg-Holm & Piotr Melech: Coarse Day

Fred Lonberg-Holm (cello)
Piotr Melech (clarinet)

Coarse Day (Multikulti; 2011)

Avant garde duos are pretty prevalent at the moment, no matter what the instrument(s). But what makes the best ones stand out is the quality of the musicianship and the depth of the material.


As with my earlier discussion on the Daniel Levin/Tim Daisy release, The Flower and The Bear, Fred Lonberg-Holm and Piotr Melech have created a richly diverse and highly challenging document that is both absorbing and thought provoking.

Lonberg-Holm, a member of various outfits in Chicago (most notably The Vandermark 5) and Melech, a growing presence of the Polish avant garde scene (including his trio Enterout) together, explore a strange world of soundscapes on Coarse Day. It's a densely packed session with movements that are multi-layered and demanding of the listener's concentration.

"Cloudburst" is pops and crackles with a sense of adventure. Lonberg-Holm maneuvers up and down the scales like a cat stuck in an aqueduct. Melech's clarinet(s) create an echo chamber that is both haunting and exhilarating. "Tangle Of Loops" feels almost anti-avant garde. I felt Longberg-Holm and Melech have a number of exchanges that are humorous and well improvised. My mind drifted into a jovial exploration into Raymond Scott (although I'm certain that was not the composers intentions). The use of electronics and sound manipulation on "Tangle Of Loops" gives the piece a schizophrenic edge that is genuinely exciting.

"Mildew Gourmets" moves out melodically in a somber spiritual pattern, similar to Coltrane's "A Love Supreme." It's hypnotic and relaxing tone is a calming departure point for the session and provides further insight into the duo's composition talents.

Coarse Day while challenging, is an album that once it sinks in--will become a fixture on your stereo. Lonberg-Holm and Melech have created an album that is filled with improvisation but also subtle accessibility that deserves intense listening. Haunting, beautiful and emotional.

Ted Rosenthal: Out Of This World

Ted Rosenthal (piano)

Out Of This World (Playscape Recordings)

Noriko Ueda (bass)

Quincy Davis (drums)

It is difficult to judge a standards album sometimes. Many argue, "why repeat perfection?" Or "that version doesn't sound as good as the original?" Well, those are obviously the wrong/thick-headed way of thinking about standards material done by new artists, especially over the last 20 years. But similar to David Berkman's NY Standards Quartet releases, pianist Ted Rosenthal has done a wonderful job re-imagining ten standards in his own vision.

Throughout his entire career, Rosenthal has been able to travel between various settings and arrangements. Whether it's with legends like Gerry Mulligan or Benny Golson, or with his trio through classical compositions on his last record, Impromptu, he turns the pieces into his own and add a new vitality to them that is intoxicating and engaging.

On The Rosenthal Trio's newest release, Out Of This World, Rosenthal continues with his previous trio lineup which balances a tight and well-woven relationship with the timeless history they are re-interpreting. Opening with the title track written by Mercer & Arlen, Rosenthal and Co. sound fresh and pepper the piece with colourful shades of happiness. Ueda's bass is pounding with bright tones like the sound of a good Ray Brown beat.  Cole Porter's "So In Love" swings with a happy beat and Ueda and Rosenthal have a comfortable banter that make it a festive listen.

"Embraceable You" stays relatively intact with Gershwin's arrangement, but here Rosenthal and Davis add a feather like touch that lets you close your eyes and slowly drift away with the notes. "Cry Me a River" while exuberant, has a humble and blues-like manner that is delicious to the ear. Rosenthal delivers a mixture of Cedar Walton, Ahmad Jamal and Thelonious Monk all the while shining with his own voice and texture.

Out Of This World has all the designs of a beautiful club date - Vibrant, exciting and bouncing with energy that really gets a crowd hoppin'. But what makes this studio session so remarkable is the creative manner in which Rosenthal, Davis and Ueda work with such sweet unison that the tunes have urgency and new life. This is a real sleeper of a record that would really benefit any one's record collection.

Sunna Gunnlaugs: Long Pair Bond

Sunna Gunnlaugs (piano)

Long Pair Bond  (self produced; 2011)

Scott McLemore (drums)

Thorgrimur Jonsson (bass)

I discovered Sunna Gunnlaugs only earlier this year, but since then I have consumed alot of her music and have been truly captivated. Her style is intimate and her use of space is exciting and has you hanging on every note.

Sunna Gunnlaugs is an independent artist who has created her own path with seven unbelievable albums that go from strength to strength. I loved her last album The Dream (in fact I raved about it). But I think her new album, Long Pair Bond is phenomenal! An even more intimate and introspective album than its predecessor, Gunnlaugs continues to elevate as a composer and a musician.

The trio setting demands more of the listener. It's an opportunity to absorb the emotion of the session and feel the movement of each instrument. "Long Pair Bond" sets sail with a lovely tone. Gunnlaug's playing carries you along slowly and gently down a rugged stream. Jonsson's bass fills the room but never overpowers the notes. McLemore adds poignant timing that gives a "Long Pair Bond" an additional punch towards its conclusion. On "Thema" Gunnlaugs and Jonsson's mixture of Latin and classical merged into a solemn progression that somehow is still quietly uplifting.

"Crab Cannon," a piece originally performed by the same trio a year ago, sounds more invigorating here in the studio. The production is obviously more crisp than its live sister version but Gunnlaugs obviously performed this piece on a number of occasions so this version delivers more impact through experience. McLemore's drummer jumps out with freedom and spirit that should really get any listener excited. "Fyrir Byrnhildi", a richly driven piece buoyed by Jonsson and Gunnlaugs, is warm and inviting. A delicately crafted number with almost gospel touches that has quietly become my personal favourite on Long Pair Bond.

"Vicious World" closes the album beautifully, with the focus squarely on Gunnlaugs. McLemore and Jonsson add light swatches of colour to the outside but momentum lays within the vibrant and inspirational performance of Gunnlaugs. This is an intimate piece that would probably bring the house down in a large recital hall.

In the independent spirit of the 21st Century, Sunna Gunnlaugs has taken the exciting and adventurous journey into the fan-supported release world (a grass-roots version of venture capital). Utilizing the organization of Kickstarter we can all support the physical production of Long Pair Bond with a small donation to the creation of the album. There are a number of different levels of support that we can contribute. Each with the right and appropriate reward for you.

This is a great opportunity for artists and fans to be a part of something special. If you are a fan of Sunna. A fan of jazz. A fan of exemplary jazz. Then this is an opportunity for us all to put our collective spirit and force together for the good of great music.

Join Sunna Gunnlaugs and enjoy a truly phenomenal album--Long Pair Bond.