MATS EILERTSEN - Rubicon
ECM 477 4315
Trygve Seim (tenor & soprano saxophones); Eirik Hegdal (soprano & baritone saxophones, clarinet, bass clarinet); Thomas T Dahl (guitar); Rob Waring (marimba, vibrahone); Harmen Fraanje (piano, fender rhodes); Mats Eilertsen (double bass); Olavi Louhivuori (drums)
Recorded May 2015
Having graced more than a dozen ECM albums with his presence , Mats Eilertsen now steps out to present his leader debut, Rubicon. Originally commissioned for the Voss Jazz Festival in Norway in April 2014, and after playing in the compositions live in concert Eilertsen took the septet into the studio in May 2015 to record the pieces for this album. In doing so, he has put together a set of original compositions that have been written with the individual players in mind but also that retains the identity of the composer and further cemented his position as one of pre-eminent musicians to emerge from Scandinavia in recent years.
Joining him to make up the Rubican septet, Eilertsen has been able to call on the resources of associates past and present with whose playing he is familiar. Guitarist Dahl and the Finnish drummer Olavi Louhivouri worked extensively as the collective Skydrive Trio, while mallet man Rob Waring is originally from New York but domiciled in Oslo since the early eighties and has played with the bassist in singer Elin Rosseland's trio. Saxophonist, Trygve Seim and Eilersen have considerable shared experience over the years, and it is somewhat a happy coincidence that Seim was a last minute substitute for Tore Brunborg at the Voss Festival, and was retained a permanet additn to the group. Indeed, Seim's presence is deeply felt as can be heard on his evocative and declamotary statement, rising above the ensemble on 'Balky '.
Eilersen has been meticulous in his both in his writing and in choice of musicians for this project. The calm ensemble playing of 'March' and the ever so delicate 'Lago' reveal a sensibility and use of dynamics that is often forgotten when a band is stuffed full of outstanding soloists as Rubican is. Just listen to pianist, Harman Fraanje's solo on 'Lago' and how this is lifted by the arrangement and interpretation by his colleagues, giving way to an equally fine outing from Eirik Hegdal on clarinet.
This subtle blend of instruments is again used o fine effect on 'September' where each individual instrument can be clearly heard but is there for the benefit of the ensemble as a whole. Thomas T Dahl steps out with a solo that is just a introspective and yet full of vibrancy, giving way to Waring's vibraphone solo that dances across the accompaniment in a joyful and lyrical manner.
Along with the writing for septet, the album is broken up with a couple of shorter pieces, a solo piano composition by Fraanje that has been reprised from the live concerts, and brief trio improvisation for bass, marimba and clarinet capturing beautifully the woody sonorities of the instruments and the closing sequence, 'Introitus' that pairs double bass and bass clarinet in a delightful dialogue, and thus completes a wholly satisfying set.
It is much to Eilertsen's credit that throughout he is presence is keenly felt, and more importantly his big toned bass lines lay down an important foundation for the music. It is remarkable how the bassist has been able to retain his own strong personality in a manner that indicates that the music heard is his musical vision, but also allows such freedom for his fellow band mates to contribute so freely without disturbing the equilibrium of his concept.
Reviewed by Nick Lea
ECM 477 4315
Trygve Seim (tenor & soprano saxophones); Eirik Hegdal (soprano & baritone saxophones, clarinet, bass clarinet); Thomas T Dahl (guitar); Rob Waring (marimba, vibrahone); Harmen Fraanje (piano, fender rhodes); Mats Eilertsen (double bass); Olavi Louhivuori (drums)
Recorded May 2015
Having graced more than a dozen ECM albums with his presence , Mats Eilertsen now steps out to present his leader debut, Rubicon. Originally commissioned for the Voss Jazz Festival in Norway in April 2014, and after playing in the compositions live in concert Eilertsen took the septet into the studio in May 2015 to record the pieces for this album. In doing so, he has put together a set of original compositions that have been written with the individual players in mind but also that retains the identity of the composer and further cemented his position as one of pre-eminent musicians to emerge from Scandinavia in recent years.
Joining him to make up the Rubican septet, Eilertsen has been able to call on the resources of associates past and present with whose playing he is familiar. Guitarist Dahl and the Finnish drummer Olavi Louhivouri worked extensively as the collective Skydrive Trio, while mallet man Rob Waring is originally from New York but domiciled in Oslo since the early eighties and has played with the bassist in singer Elin Rosseland's trio. Saxophonist, Trygve Seim and Eilersen have considerable shared experience over the years, and it is somewhat a happy coincidence that Seim was a last minute substitute for Tore Brunborg at the Voss Festival, and was retained a permanet additn to the group. Indeed, Seim's presence is deeply felt as can be heard on his evocative and declamotary statement, rising above the ensemble on 'Balky '.
Eilersen has been meticulous in his both in his writing and in choice of musicians for this project. The calm ensemble playing of 'March' and the ever so delicate 'Lago' reveal a sensibility and use of dynamics that is often forgotten when a band is stuffed full of outstanding soloists as Rubican is. Just listen to pianist, Harman Fraanje's solo on 'Lago' and how this is lifted by the arrangement and interpretation by his colleagues, giving way to an equally fine outing from Eirik Hegdal on clarinet.
This subtle blend of instruments is again used o fine effect on 'September' where each individual instrument can be clearly heard but is there for the benefit of the ensemble as a whole. Thomas T Dahl steps out with a solo that is just a introspective and yet full of vibrancy, giving way to Waring's vibraphone solo that dances across the accompaniment in a joyful and lyrical manner.
Along with the writing for septet, the album is broken up with a couple of shorter pieces, a solo piano composition by Fraanje that has been reprised from the live concerts, and brief trio improvisation for bass, marimba and clarinet capturing beautifully the woody sonorities of the instruments and the closing sequence, 'Introitus' that pairs double bass and bass clarinet in a delightful dialogue, and thus completes a wholly satisfying set.
It is much to Eilertsen's credit that throughout he is presence is keenly felt, and more importantly his big toned bass lines lay down an important foundation for the music. It is remarkable how the bassist has been able to retain his own strong personality in a manner that indicates that the music heard is his musical vision, but also allows such freedom for his fellow band mates to contribute so freely without disturbing the equilibrium of his concept.
Reviewed by Nick Lea
