NILS ØKLAND BAND - Kjøvatn
(ECM 377 0508)
Nils Økland (viola d'amore, Hardanger fiddle, violin); Rolf-Erik Nystrøm (alto & baritone saxophones); Sigbjørn Apeland (harmonium); Mats Eilertsen ( double bass); Håkon Mørch Stene (percussion, vibraphone)
Recorded June 2012
Woefully overdue for review, and this is something that I must take full responsibility for as this superb album seems to have a been a permanent fixture in my car CD player and listened to on numerous occasions purely for pleasure, without due consideration being given to the fact that I was supposed to be writing some wise and constructive words about the music. For this I sincerely apologise, both to the artist and the prospective listener to this fine recording, as by not having reviewed this CD sooner it has missed my Album of the Year selection when in fact it has probably been one of my favourite releases of 2015.
Nils Økland is no stranger to ECM with two previous albums under his own name, Monograph and Lysøen, and the collaborative Lumen Drones with guitarist Per Steiner Lie and Øjan Haarland on drums in a powerhouse set. By contrast, Kjøvatn is an all acoustic affair that bathes in the sounds produced by the five musicians.
Økland use of the instrumental range available is quite remarkable, and indeed many of the arrangements are credited to all five participants indicating perhaps that much of this music has found its form through performances, and over time. The resulting music music is tightly focussed yet broad in scope, with a well balanced set that explores the sounds available but only ever to suit the demands of the compositions which are all penned by the leader.
Økland's writing moves between the the exploration of gentle lyricism to the textures within the ensemble from the dense opening sounds of the first track 'Mali' and the varying dynamics of 'Fivreld' and 'Start', and the drone-based 'Blå Harding' that brings to mind the Celtic tradition a little nearer home. The melodic side of Nil's musical vision are heard 'Undergrun' (with some fine alto playing from Nystrøm), the beautiful 'Skugge' and exquisite and delicate 'Amstel'.
Quite how the group produce such beautiful and diverse music is somewhat of a mystery. The harmonium in many hands can be anything other than harmonious, and New music maestro Rolf-Erik Nystrøm rarely plays either alto or baritone saxophone is a readily identifiable mannner, but rather brings extended techniques to enhance the textural element of the music as opposed to the melodic line. The Hardanger fiddle is an instrument not frequently heard in European jazz and the violin is not always a favourite of mine (although Økland and a few others of late are making me review this line of thought), yet the music on this set is totally bewitching.
In closing, mention must be made of the contribution of double bassist, Mats Eilertsen, who may have the most traditional role in the ensemble but whose superb tone and melodic phrases give the music a further resonating positive.
Reviewed by Nick Lea
(ECM 377 0508)
Nils Økland (viola d'amore, Hardanger fiddle, violin); Rolf-Erik Nystrøm (alto & baritone saxophones); Sigbjørn Apeland (harmonium); Mats Eilertsen ( double bass); Håkon Mørch Stene (percussion, vibraphone)
Recorded June 2012
Woefully overdue for review, and this is something that I must take full responsibility for as this superb album seems to have a been a permanent fixture in my car CD player and listened to on numerous occasions purely for pleasure, without due consideration being given to the fact that I was supposed to be writing some wise and constructive words about the music. For this I sincerely apologise, both to the artist and the prospective listener to this fine recording, as by not having reviewed this CD sooner it has missed my Album of the Year selection when in fact it has probably been one of my favourite releases of 2015.
Nils Økland is no stranger to ECM with two previous albums under his own name, Monograph and Lysøen, and the collaborative Lumen Drones with guitarist Per Steiner Lie and Øjan Haarland on drums in a powerhouse set. By contrast, Kjøvatn is an all acoustic affair that bathes in the sounds produced by the five musicians.
Økland use of the instrumental range available is quite remarkable, and indeed many of the arrangements are credited to all five participants indicating perhaps that much of this music has found its form through performances, and over time. The resulting music music is tightly focussed yet broad in scope, with a well balanced set that explores the sounds available but only ever to suit the demands of the compositions which are all penned by the leader.
Økland's writing moves between the the exploration of gentle lyricism to the textures within the ensemble from the dense opening sounds of the first track 'Mali' and the varying dynamics of 'Fivreld' and 'Start', and the drone-based 'Blå Harding' that brings to mind the Celtic tradition a little nearer home. The melodic side of Nil's musical vision are heard 'Undergrun' (with some fine alto playing from Nystrøm), the beautiful 'Skugge' and exquisite and delicate 'Amstel'.
Quite how the group produce such beautiful and diverse music is somewhat of a mystery. The harmonium in many hands can be anything other than harmonious, and New music maestro Rolf-Erik Nystrøm rarely plays either alto or baritone saxophone is a readily identifiable mannner, but rather brings extended techniques to enhance the textural element of the music as opposed to the melodic line. The Hardanger fiddle is an instrument not frequently heard in European jazz and the violin is not always a favourite of mine (although Økland and a few others of late are making me review this line of thought), yet the music on this set is totally bewitching.
In closing, mention must be made of the contribution of double bassist, Mats Eilertsen, who may have the most traditional role in the ensemble but whose superb tone and melodic phrases give the music a further resonating positive.
Reviewed by Nick Lea
