SCHEEN JAZZ ORKESTER & EYOLF DALE- Commuter Report
Eyolf Dale: piano, harpsichord, celeste; Andre Kassen: soprano saxophone, tenor saxophone; Guttorm Guttormsen: alto saxophone, clarinet, flute; Jon Oystein Rosland: tenor saxophone; Line Bjorner Rosland: bass clarinet, clarinet; Finn Arnve Dhal Hanssen: trumpet; Thomas Johansson: trumpet; flugelhorn; Magne Rutle: trombone; Marius Hoven: trombone; Asgeir Grong: bass trombone; Rune Klakegg: accordion; Jan Olvav Renvag: acoustic bass; Audun Kleive: drums.
Recorded January 26th – 28th, 2018 by Peer Espen Ursfjord at Rainbow Studio, Oslo
In previous outings, the Scheen Jazzorkester have produced sounds that are equally at home in the world of Classical orchestras (in reviews of previous CDs by them, I noted the ways in which pieces had an air of Milhaud or Stravinsky) as that of jazz orchestras (particularly those that were exploring the ‘Third Stream’, like Gunther Schuller or George Russell, or Pete Rugulo’s work with the Stan Kenton Orchestra). What is particularly rewarding about this orchestra’s take on the ‘Third Stream’ concept (if they even think about their music in these terms) is the way in which the logic of composed Classical music fits so neatly into the ethos of improvised and swinging jazz – in ways that, perhaps, the earlier attempts did not always manage to achieve. Previous sets have featured the compositions of Rosland, Kleive and Klakegg. This time it is the turn of pianist Dale to write the pieces. This is a marvellous contribution to the catalogue of this orchestra and, most intriguingly, manages to not only, create space for some of Dale’s deliciously melodic soloing but also make full use of the palette of sounds that the Scheen Jazzorkester offers.
Stylistically, the opening piece brings a sense of Minimalism in the repeated lines and darted horn sounds, capturing a feel of rush hour just beginning. A bouncing bass line picks up the pace and the piece works an excellent contemporary big band groove. Whereas most of us, perhaps, view the rush-hour with dread and see the time spent commuting as dead and a chore, for Dale, this provided an opportunity to mull over the previous days recording and resolve problems that he felt existed in the compositions; as he says, “compositional solutions were found during the commuting process…I sort of delivered a report on what had happened with the music – a commuter report.” The use of repeated, minimalist phrases creeps into other pieces, as does some piano playing that nods towards ragtime or ensemble playing that brings in Swing and a rhythm section that crackles with bebop panache. As with previous sets, Klakegg’s accordion brings a unique and often exotic tone to the music, and as on his previous piano albums, Dale demonstrates a wonderful gift for the elegant phrase and ear-catching combination of instruments. This is definitely one of the most impressive large ensemble recordings this year.
Reviewed by Chris Baber
Eyolf Dale: piano, harpsichord, celeste; Andre Kassen: soprano saxophone, tenor saxophone; Guttorm Guttormsen: alto saxophone, clarinet, flute; Jon Oystein Rosland: tenor saxophone; Line Bjorner Rosland: bass clarinet, clarinet; Finn Arnve Dhal Hanssen: trumpet; Thomas Johansson: trumpet; flugelhorn; Magne Rutle: trombone; Marius Hoven: trombone; Asgeir Grong: bass trombone; Rune Klakegg: accordion; Jan Olvav Renvag: acoustic bass; Audun Kleive: drums.
Recorded January 26th – 28th, 2018 by Peer Espen Ursfjord at Rainbow Studio, Oslo
In previous outings, the Scheen Jazzorkester have produced sounds that are equally at home in the world of Classical orchestras (in reviews of previous CDs by them, I noted the ways in which pieces had an air of Milhaud or Stravinsky) as that of jazz orchestras (particularly those that were exploring the ‘Third Stream’, like Gunther Schuller or George Russell, or Pete Rugulo’s work with the Stan Kenton Orchestra). What is particularly rewarding about this orchestra’s take on the ‘Third Stream’ concept (if they even think about their music in these terms) is the way in which the logic of composed Classical music fits so neatly into the ethos of improvised and swinging jazz – in ways that, perhaps, the earlier attempts did not always manage to achieve. Previous sets have featured the compositions of Rosland, Kleive and Klakegg. This time it is the turn of pianist Dale to write the pieces. This is a marvellous contribution to the catalogue of this orchestra and, most intriguingly, manages to not only, create space for some of Dale’s deliciously melodic soloing but also make full use of the palette of sounds that the Scheen Jazzorkester offers.
Stylistically, the opening piece brings a sense of Minimalism in the repeated lines and darted horn sounds, capturing a feel of rush hour just beginning. A bouncing bass line picks up the pace and the piece works an excellent contemporary big band groove. Whereas most of us, perhaps, view the rush-hour with dread and see the time spent commuting as dead and a chore, for Dale, this provided an opportunity to mull over the previous days recording and resolve problems that he felt existed in the compositions; as he says, “compositional solutions were found during the commuting process…I sort of delivered a report on what had happened with the music – a commuter report.” The use of repeated, minimalist phrases creeps into other pieces, as does some piano playing that nods towards ragtime or ensemble playing that brings in Swing and a rhythm section that crackles with bebop panache. As with previous sets, Klakegg’s accordion brings a unique and often exotic tone to the music, and as on his previous piano albums, Dale demonstrates a wonderful gift for the elegant phrase and ear-catching combination of instruments. This is definitely one of the most impressive large ensemble recordings this year.
Reviewed by Chris Baber
