NYPAN - Stereotomic
Losen Records: LOS 168-2
Oyvind Nypon: guitar; Bernt Moen: piano; Egil Kalman: bass; Ole Mifjell: drums.
Recorded: University of Agder, June 22nd 2016.
The title of this collection comes from the Greek for cutting blocks of stone to specified dimensions (‘steros’ – solid, and ‘tome’ – cut). So, the question is whether the music here has specified dimensions, and what it is cut from. The liner notes state that the band on this recording met for one day of rehearsal and then, the following day, went into the studio.
The guitar playing here is rich, melodic and bright – high on the treble, with each note played light and clear. This gives a pleasant mix of Americana and Nordic jazz in the way that the guitar develops the themes of each composition. Each piece has a recognisable musical structure, for example, a blues, a ballad, something verging on a tango, and this gives the rhythmic sensibility to which the players respond. There is solid support from the rhythm section across all of the pieces, working the basics of the structures well and responding closely to the turns of the soloists. The guitar and piano weaves some elegant melodies, and it is not always easy to tell which parts are composed and which are improvised. This adds to the sense of spontaneous creation at play here. At times, short themes are revisited in the solos from one track and another – for example, the primary theme of the opening track is quoted by Nypan is track 4, ‘Resignated driver’ before Moen’s swinging piano solo takes off exuberantly. Moen solos again on track 6, ‘The big rumble tumble’, and brings a depth to these pieces. This is not to surprising, given his role as Associate Professor in Performing Rhythmic Piano at the University of Agder, where the set was recorded, or his playing with award-winning group Shining.
The group takes its name from its guitarist, bandleader and composer. Nypan had composed the pieces prior to this (the opening track, apparently, was composed only the day before the session) but did not hand over the charts to the other musicians until the day of the recording. Everything is recorded live, with no overdubs, and captures the spontaneous response of the players to each piece. Overall, the pieces work well and the group gels to produce a solid and enjoyable set.
Reviewed by Chris Baber
Losen Records: LOS 168-2
Oyvind Nypon: guitar; Bernt Moen: piano; Egil Kalman: bass; Ole Mifjell: drums.
Recorded: University of Agder, June 22nd 2016.
The title of this collection comes from the Greek for cutting blocks of stone to specified dimensions (‘steros’ – solid, and ‘tome’ – cut). So, the question is whether the music here has specified dimensions, and what it is cut from. The liner notes state that the band on this recording met for one day of rehearsal and then, the following day, went into the studio.
The guitar playing here is rich, melodic and bright – high on the treble, with each note played light and clear. This gives a pleasant mix of Americana and Nordic jazz in the way that the guitar develops the themes of each composition. Each piece has a recognisable musical structure, for example, a blues, a ballad, something verging on a tango, and this gives the rhythmic sensibility to which the players respond. There is solid support from the rhythm section across all of the pieces, working the basics of the structures well and responding closely to the turns of the soloists. The guitar and piano weaves some elegant melodies, and it is not always easy to tell which parts are composed and which are improvised. This adds to the sense of spontaneous creation at play here. At times, short themes are revisited in the solos from one track and another – for example, the primary theme of the opening track is quoted by Nypan is track 4, ‘Resignated driver’ before Moen’s swinging piano solo takes off exuberantly. Moen solos again on track 6, ‘The big rumble tumble’, and brings a depth to these pieces. This is not to surprising, given his role as Associate Professor in Performing Rhythmic Piano at the University of Agder, where the set was recorded, or his playing with award-winning group Shining.
The group takes its name from its guitarist, bandleader and composer. Nypan had composed the pieces prior to this (the opening track, apparently, was composed only the day before the session) but did not hand over the charts to the other musicians until the day of the recording. Everything is recorded live, with no overdubs, and captures the spontaneous response of the players to each piece. Overall, the pieces work well and the group gels to produce a solid and enjoyable set.
Reviewed by Chris Baber
