Best Albums of 2011: Equilibrium

JazzWrap revisits a great year of discoveries in 2011.

Equilibrium (trio)

Walking Voices (Songlines Recordings; 2011)

Sissel Vera Pettersen (voice, sax)

Joachim Badenhorst (clarinet)

Mikkel Ploug (guitar)

Simply put, Walking Voices is one of the most beautiful records you'll hear all year. There is a blissful nature to the music. Pettersen, Badenhorst and Ploug weave a delicate web of electronics, folk and chamber classical themes into a dream-like soundscape built on the 15 solid pieces. Incorporating these themes may seem difficult but this trio do it with ease.

The spiritual flowing "Silverise" embodies the aesthetics of the group. It's atmospheric, organic and exploratory. Invoking the essence of Eno, Glass or Laurie Anderson, "Whitless" is awash of multi layered effects both vocal and electronic that will leave a dizzying effect on you as to the strength of this trio.

In our original piece on Walking Voices,  I discussed how Equilibrium have shown they are beyond description and that the music revolves and involves with many themes and varying sounds. This still holds true as I listen to again today. Each of the musicians has there own successful groups that they led but together they are one of the most innovative to come on the scene in recent years.

Kevin Brow: Dolls & Guns

Kevin Brow (drums)

Dolls & Guns (Blackout Music; 2011)

Kevin Brow has created two fantastic albums in the last three years with his band Koptor. On his third outing (under his own name), Brow explores improvisations far reaching possibilities with illuminating success.

Dolls & Guns (Blackout Music) is enlightening mixture of classical and jazz chamber pieces between Brow and a 13 well chosen musicians (either instrumentalists and vocalists). You might expect there to varying degrees of success on each piece but I have to tell you, you couldn't be more wrong in that thinking. 

"Sometimes My Thoughts Sounds Like This" rolls and pounds out as a dueling tribal match between Brow and fellow drummer, Dan Weiss. The piece while short is really more an introduction to the diversity of the Dolls & Guns.

"Light Years" expands this rising crest of sound with Brow in the opening movements and then passing gently on to Jacob Anderskov's exquisitely soft, almost motionless piano. The space the artists leave between is earthy and haunting. Brow returns in the end with a fierce cause and effect statement as both musicians head to a fade out.

"Brain Washing" is probably more in line with some may know from Brow's previous associations. The counterpoint battle between the great Tim Berne and Kevin Brow here is beautiful and their improvising somehow welds itself into harmonic structure.

One of my favourite discoveries on the vocal side this year was that of Sissel Vera Pettersen (from Equilibrium). Her work her with Brow on two tracks "An Ancient Sport" "Elegant Strut" and are both delightful, pleasing and calm. Brow allows the Pettersen's voice and vocal manipulations to be the main focus of the piece while he adds a commanding beat in background or gentle taps and brushes around the outside of lyrics.

Longtime collaborator, Mikkel Ploug also participates with "Tnf Alpha vs Remicade". Both musicians and a bit of mysticism here that straddles both improvisation and indie-rock. An instrumental that Tortoise would be proud of.

Brow closes out the albums on an interesting note with "Green Tea." A solo piece. But not the soloist you'd expect. Here Brow has chosen Jacob Sacks (piano) to carry this extraordinary session out on a subtle and touching note. It's beautiful and it also show the breath and support Brow has given to his partners on this record. It is not just a Kevin Brow solo project--its ever one's project.

Dolls & Guns is a magnificent work that is not only a study of a musician and composer that is growing in stature. It is a document of leadership and creativity among individuals. Wonderful and moving stuff.

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.

Thomas Heberer: Klippe

Thomas Heberer (trumpet)

Klippe (Clean Feed Records; 2011)

Joachim Badenhorst (clarinet)

Pascal Niggenkemper (bass)

Stunning. Simply stunning. I really stumbled into this record. It came about as a result of listening to the recent Equilibrium album, Walking Voices. I wanted to investigate some more material that Joachim Badenhorst had worked on and the new album from German born now New York resident, Thomas Heberer kept coming into view. Mainly from friends constantly telling me I need to check this guy out. And I finally decided I'd better take a listen. And what a surprise...

He studied under the great Manfred Schoof as well as plays in the collective Instant Composers Pool, led by Misha Mengelberg and Han Bennink. But aside from those illustrious backgrounds, he has a loaded catalogue of music that varies in themes (somber to cinematic to Moleaver-esque electronics) but is played with the highest of quality.

On his latest album, Klippe, Heberer delivers a chamber session that is moving as well as experimental in texture. The title refers to Heberer's childhood growing up near the Baltic Sea. The music strongly evokes a sense of space, long depths and far-reaching exploration.

"Torn" opens the disc with a delicate examination of space that has both a European classical element as well as encompassing aesthetics of free jazz. It slowly builds just for a moment and quickly recedes back into your consciousness. Heberer's performance is steady and emotionally effective.

Heberer's composition, "Mole" reminds me of early Enrico Rava. It's crisp and vibrant with sharp passages from both Badenhorst and Heberer. Niggenkemper adds an eerie backdrop with his soft touches on the bass strings. "Stapellauf" shows some of the affect Schoff's influence has had on Heberer. It swirls with frenetic and dark tones from both Niggenkemper and Heberer that pulsate and shift back and forth.

"Blanker Hans" and "Luv und Lee" both feature a mixture of improvised and structured chords that sees Bandenhorst and Heberer playing counterpoint while Niggenkemper rides up and down the scales with subtle abandon. "Einlaufbier" returns the listener to shore after a long journey. It's quiet and short but the final notes will linger in your memory well after the session ends.

Klippe is beautifully composed and executed. Stripped of additional instrumentation and giving his fellow musicians the room to roam and improvise, Thomas Heberer is becoming more than just one of the best kept secrets in the European and New York music scene. Highly Recommended.