AINA FRIDEN - Up High
LOSEN: LOS176-2
Aina Friden: vocal; Ulf Johnansson Werre: piano, trombone, scat; Frode Kjekstad: guitar; Roger Williamsen: bass; Hermund Nygard: drums.
Recorded March 15th, 2013 at Leif Braten Lyd, Fredrikstad and September 10th, 2013 at Kruttroyk Studio, Oslo.
Aina Friden has worked with guitarist Kjekstad for many years, and this is her first recording as a band leader. She is joined by Kjekstad’s trio and well-known Swedish pianist Werre, on a set that mixes original compositions written by Friden and Kjekstad with covers of well-known classics (such as ‘Pennies from Heaven’, track 7) and lesser known tunes from the US Jazz song-book (like Feather and Golson’s ‘Whisper Not’, track 2). I liked the way that the familiar, the less familiar and the new all meld together in a well-balanced set that fit Friden’s voice and that bring out some delightful solo work from guitar and piano.
The set opens with ‘High Wire’, composed by Tony Cohan and Chick Corea. I’d heard this sung by Chaka Khan. As sung by Friden, the piece not only conveys the aerialists acrobatics but also the sense of risk that comes with this. Friden’s vocal range is impressive and she allows herself to stretch after some of the notes here, particularly in the higher register, but always comes back to a firm harmonic foundation before the next move. Werre and Kjekstad turn in some great solo work and the track bounces along compellingly.
The group’s version of ‘Pennies from Heaven’ begins with an intro that would not be out of place in musical theatre, setting the scene of tune before Friden introduces the more familiar refrain. As the piece gathers pace, Werre accompanies his piano solo with some exuberant scatting. Werre features again on track 6, ‘Moddy’s Mood’, where he takes a spirited trombone solo that perfectly captures the humour of the piece and the way that Friden mixes the lyrics with ones from ‘I’m in the mood for love’.
As a set, the overall feeling is nostalgic, harking back to a singing style that has the feel of the late 1950s – somewhere between swing and bop. This is not to suggest that there is anything antiquated here. Indeed, any singing that conveys the depth of emotion and vocal range of Friden has a timeless quality.
Reviewed by Chris Baber
LOSEN: LOS176-2
Aina Friden: vocal; Ulf Johnansson Werre: piano, trombone, scat; Frode Kjekstad: guitar; Roger Williamsen: bass; Hermund Nygard: drums.
Recorded March 15th, 2013 at Leif Braten Lyd, Fredrikstad and September 10th, 2013 at Kruttroyk Studio, Oslo.
Aina Friden has worked with guitarist Kjekstad for many years, and this is her first recording as a band leader. She is joined by Kjekstad’s trio and well-known Swedish pianist Werre, on a set that mixes original compositions written by Friden and Kjekstad with covers of well-known classics (such as ‘Pennies from Heaven’, track 7) and lesser known tunes from the US Jazz song-book (like Feather and Golson’s ‘Whisper Not’, track 2). I liked the way that the familiar, the less familiar and the new all meld together in a well-balanced set that fit Friden’s voice and that bring out some delightful solo work from guitar and piano.
The set opens with ‘High Wire’, composed by Tony Cohan and Chick Corea. I’d heard this sung by Chaka Khan. As sung by Friden, the piece not only conveys the aerialists acrobatics but also the sense of risk that comes with this. Friden’s vocal range is impressive and she allows herself to stretch after some of the notes here, particularly in the higher register, but always comes back to a firm harmonic foundation before the next move. Werre and Kjekstad turn in some great solo work and the track bounces along compellingly.
The group’s version of ‘Pennies from Heaven’ begins with an intro that would not be out of place in musical theatre, setting the scene of tune before Friden introduces the more familiar refrain. As the piece gathers pace, Werre accompanies his piano solo with some exuberant scatting. Werre features again on track 6, ‘Moddy’s Mood’, where he takes a spirited trombone solo that perfectly captures the humour of the piece and the way that Friden mixes the lyrics with ones from ‘I’m in the mood for love’.
As a set, the overall feeling is nostalgic, harking back to a singing style that has the feel of the late 1950s – somewhere between swing and bop. This is not to suggest that there is anything antiquated here. Indeed, any singing that conveys the depth of emotion and vocal range of Friden has a timeless quality.
Reviewed by Chris Baber
