ANDERS LØNNE GRØNSETH – Mini Macro Ensemble vol 2
(Pling 013)
Anders Lønne Grønseth: soprano, tenor, baritone saxophones, bass clarinet; Hanne Rekdal: concert, alto, bass flutes, bassoon; Morten Barrikmo: soprano, bass, contrabass clarinets; Martin Taxt: tuba; Sigrun Eng: cello; Audun Ellingsen: contrabass; Anders Aarum: piano, fender Rhodes; Andreas Bratlie: tabla, percussion.
Recorded May 12th- 13th 2014 at Sparkle Sound Studios
In my review of Volume 1 of the Mini Macro Ensemble recording, I talked about Gronseth’s approach to composition using bitonal structures. Volume 2 continues this exploration, picking up some of the themes explored in volume 1. In particular, I was a little disappointed that the raga and maqam influences felt underplayed in volume 1, with some of the percussion work feeling a little underdeveloped. Happily this is less of an issue in the second volume. I don’t know whether this is because the pieces have developed or the ensemble has grown in confidence, but the whole set feels a lot more assured and the pieces have a far richer sense of their influences.
The opening track, Caput Mortem, is a mini-suite (involving the tracks Caput Mortem, Jonquil, Sinopia and Urobilin). Gronseth’s saxophone introduces the tune as if playing Arabic maqam, swirling and rolling the theme as the percussion picks up the pace and evokes a middle Eastern feel. Aarum’s fender Rhodes adds a slightly spacey feel to the piece and the other instruments build on the theme to produce an interesting interplay and rich mixture of sounds. What I particularly enjoyed in the sense that Gronseth’s composition is clearly stated without overpowering the other players, leaving them free to explore and develop their own response to the music.
Reviewed by Chris Baber
(Pling 013)
Anders Lønne Grønseth: soprano, tenor, baritone saxophones, bass clarinet; Hanne Rekdal: concert, alto, bass flutes, bassoon; Morten Barrikmo: soprano, bass, contrabass clarinets; Martin Taxt: tuba; Sigrun Eng: cello; Audun Ellingsen: contrabass; Anders Aarum: piano, fender Rhodes; Andreas Bratlie: tabla, percussion.
Recorded May 12th- 13th 2014 at Sparkle Sound Studios
In my review of Volume 1 of the Mini Macro Ensemble recording, I talked about Gronseth’s approach to composition using bitonal structures. Volume 2 continues this exploration, picking up some of the themes explored in volume 1. In particular, I was a little disappointed that the raga and maqam influences felt underplayed in volume 1, with some of the percussion work feeling a little underdeveloped. Happily this is less of an issue in the second volume. I don’t know whether this is because the pieces have developed or the ensemble has grown in confidence, but the whole set feels a lot more assured and the pieces have a far richer sense of their influences.
The opening track, Caput Mortem, is a mini-suite (involving the tracks Caput Mortem, Jonquil, Sinopia and Urobilin). Gronseth’s saxophone introduces the tune as if playing Arabic maqam, swirling and rolling the theme as the percussion picks up the pace and evokes a middle Eastern feel. Aarum’s fender Rhodes adds a slightly spacey feel to the piece and the other instruments build on the theme to produce an interesting interplay and rich mixture of sounds. What I particularly enjoyed in the sense that Gronseth’s composition is clearly stated without overpowering the other players, leaving them free to explore and develop their own response to the music.
Reviewed by Chris Baber
