LINA ALLEMANO'S OHRENSCHMAUS - Rats and Mice
Lumo Records CD LM 2019-10
Lina Allemano, trumpet, compositions; Dan Peter Sundland, electric bass; Michael Griener, drums
Recorded at Zentri-Fuge in Berlin on May 9, 2019
One of the elements of improvisation that I am constantly listening for is that exchange between members of the group which tells me that each is fully aware of each other’s contributions, that they are all listening for and hearing what is going on. This applies equally to a trio such as Ohrenschmaus, where bass and drums might be taken for the rhythm section. They are not so, and it is clear that all three musicians are aware of this and all render their benefactions with equal verve and capacity. Sounding more European improv-like than any kind of North American jazz, the group achieves this through Allemano’s configurations from both concept and composition. The distinction is doubtless due also to her splitting her time between her native Canada and Berlin and successfully running widely different bands in both.
Allemano’s performance is flamboyant, a potent communicating force. Together with the bass and drums the trio exhibits a breath-taking reciprocation of innovative concepts and contemporary avant-garde. She leads them, from the roots of her obviously broad comprehension of musical ideas, to the much-coveted conclusion of a lavishly ebullient and entirely interactive sound experience.
The trio is named Ohrenschmaus. It means ‘a feast or treat for the ears’ or more colloquially, ‘ear candy’. Believe me, it’s true.
Reviewed by Ken Cheetham
Lumo Records CD LM 2019-10
Lina Allemano, trumpet, compositions; Dan Peter Sundland, electric bass; Michael Griener, drums
Recorded at Zentri-Fuge in Berlin on May 9, 2019
One of the elements of improvisation that I am constantly listening for is that exchange between members of the group which tells me that each is fully aware of each other’s contributions, that they are all listening for and hearing what is going on. This applies equally to a trio such as Ohrenschmaus, where bass and drums might be taken for the rhythm section. They are not so, and it is clear that all three musicians are aware of this and all render their benefactions with equal verve and capacity. Sounding more European improv-like than any kind of North American jazz, the group achieves this through Allemano’s configurations from both concept and composition. The distinction is doubtless due also to her splitting her time between her native Canada and Berlin and successfully running widely different bands in both.
Allemano’s performance is flamboyant, a potent communicating force. Together with the bass and drums the trio exhibits a breath-taking reciprocation of innovative concepts and contemporary avant-garde. She leads them, from the roots of her obviously broad comprehension of musical ideas, to the much-coveted conclusion of a lavishly ebullient and entirely interactive sound experience.
The trio is named Ohrenschmaus. It means ‘a feast or treat for the ears’ or more colloquially, ‘ear candy’. Believe me, it’s true.
Reviewed by Ken Cheetham
