FERENC SNÉTBERGER - Titok
ECM 574 0670
Ferenc Snétberger: guitar; Anders Jormin: double-bass; Joey Baron: drums
Recorded May 2015
Hungarian guitarist Ferenc Snétberger draws upon many idioms, jazz, gypsy, flamenco, Bach, Brazilian and makes them his own into a tasteful whole. His velvety nylon string tone is immediately attractive, and last year’s debut ECM release, “In Concert” amply demonstrated in a solo recital his complete command and utter musicality live in Budapest. Though he has been recording since 1990, most notably for Enja, his second ECM release “Titok”, recorded at Oslo’s Rainbow Studio fulfills even more the promise that “In Concert” hinted at– this time in an all star trio context with fellow label mate Anders Jormin on double bass, and veteran, the inimitable Joey Baron on drums.
“Titok” represents absolutely ego free playing at it’s highest level. The trio is adept at functioning in different roles seamlessly, as an example Snétberger is equally at home leading a melodic line or improvising out front as he is circling and enhancing the rhythmic activity of Jormin and Baron. The Swiss born Jormin impressed mightily with his resonant tone and thoughtful soloing on his most recent entry “Trees of Light” (ECM, 2016) with vocalist Lena Willemark and koto master Karin Nakagawa. Take his playing on the mysterious opening “Cou Cou” where he and Baron fashion a spiky rhythmic bed for the guitarist to weave in and out of with a series of strategically placed single note lines adding extra heft to Baron’s airy ride cymbal. On the gentle swing of “Rambling”, Jormin’s beautiful legato lines in his solo make for a graceful dance with Baron’s stepping cymbals and Snetberger’s sympathetic comping. Jormin’s reading of the melody on the folkish “Leolo” is superb, as is his longing arco solo. The poppish tinge of “Ease” really allows both Snétberger and Jormin to shine with unhurried pleasure and joy in their explorations.
The trio shines at timbral coloration on the ballads like “Fairy Tale” as well as the free playing on the title track, finding the guitarist getting into some otherwordly textures by strumming below the bridge. Snétberger delves deeper into the ethereal on the out of tempo musing “Clown”. For the second time in the set on, “Clown”, Jormin uses arco playing utilizing dissonance and glistening harmonics to fine effect. Baron’s periodic staggering outbursts add to the ironic humor of watching a clown performance. Baron focuses keenly as he so often does, with ever inventive strokes with cymbals, snare, toms, and his oil can like bass drum. Throughout the album, Baron’s entrancing bass drum brings about a particularly tight, booming resonance particularly if listened through Beyerdynamic DT 770 headphones, whereas if played through Audio Technica M40’s, it brings out a more musical aspect. The sound engineered by Jan Erik Kongshaug, is nothing less than pristine. Snetberger’s gifts of impeccable solo guitar mastery are showcased on the moving album closer, the deeply reflective “Inference”.
“Titok” is another engaging look at Ferenc Snétberger’s singing acoustic guitar tone, and substantial improvisational ideas. As noted in the review of “In Concert”, Snetberger’s technique is indeed formidable but it never gets in the way of the music. He is on par with the Scofield, Metheny, McLaughlin, Frisell and Delucia and is quite underrated. Very rarely are albums this good, and with a stellar trio and material, the album makes a strong case for being one of the year’s best.
Reviewed by CJ Shearn
ECM 574 0670
Ferenc Snétberger: guitar; Anders Jormin: double-bass; Joey Baron: drums
Recorded May 2015
Hungarian guitarist Ferenc Snétberger draws upon many idioms, jazz, gypsy, flamenco, Bach, Brazilian and makes them his own into a tasteful whole. His velvety nylon string tone is immediately attractive, and last year’s debut ECM release, “In Concert” amply demonstrated in a solo recital his complete command and utter musicality live in Budapest. Though he has been recording since 1990, most notably for Enja, his second ECM release “Titok”, recorded at Oslo’s Rainbow Studio fulfills even more the promise that “In Concert” hinted at– this time in an all star trio context with fellow label mate Anders Jormin on double bass, and veteran, the inimitable Joey Baron on drums.
“Titok” represents absolutely ego free playing at it’s highest level. The trio is adept at functioning in different roles seamlessly, as an example Snétberger is equally at home leading a melodic line or improvising out front as he is circling and enhancing the rhythmic activity of Jormin and Baron. The Swiss born Jormin impressed mightily with his resonant tone and thoughtful soloing on his most recent entry “Trees of Light” (ECM, 2016) with vocalist Lena Willemark and koto master Karin Nakagawa. Take his playing on the mysterious opening “Cou Cou” where he and Baron fashion a spiky rhythmic bed for the guitarist to weave in and out of with a series of strategically placed single note lines adding extra heft to Baron’s airy ride cymbal. On the gentle swing of “Rambling”, Jormin’s beautiful legato lines in his solo make for a graceful dance with Baron’s stepping cymbals and Snetberger’s sympathetic comping. Jormin’s reading of the melody on the folkish “Leolo” is superb, as is his longing arco solo. The poppish tinge of “Ease” really allows both Snétberger and Jormin to shine with unhurried pleasure and joy in their explorations.
The trio shines at timbral coloration on the ballads like “Fairy Tale” as well as the free playing on the title track, finding the guitarist getting into some otherwordly textures by strumming below the bridge. Snétberger delves deeper into the ethereal on the out of tempo musing “Clown”. For the second time in the set on, “Clown”, Jormin uses arco playing utilizing dissonance and glistening harmonics to fine effect. Baron’s periodic staggering outbursts add to the ironic humor of watching a clown performance. Baron focuses keenly as he so often does, with ever inventive strokes with cymbals, snare, toms, and his oil can like bass drum. Throughout the album, Baron’s entrancing bass drum brings about a particularly tight, booming resonance particularly if listened through Beyerdynamic DT 770 headphones, whereas if played through Audio Technica M40’s, it brings out a more musical aspect. The sound engineered by Jan Erik Kongshaug, is nothing less than pristine. Snetberger’s gifts of impeccable solo guitar mastery are showcased on the moving album closer, the deeply reflective “Inference”.
“Titok” is another engaging look at Ferenc Snétberger’s singing acoustic guitar tone, and substantial improvisational ideas. As noted in the review of “In Concert”, Snetberger’s technique is indeed formidable but it never gets in the way of the music. He is on par with the Scofield, Metheny, McLaughlin, Frisell and Delucia and is quite underrated. Very rarely are albums this good, and with a stellar trio and material, the album makes a strong case for being one of the year’s best.
Reviewed by CJ Shearn
