TRYGVE SEIM - Rumi Songs
ECM 473 2253
Tora Augestad: vocal; Trygve Seim: tenor and soprano saxophones; Frode Haltli: accordion; Svante Henryson: violoncello
Recorded February 2015
The poetry of Rumi has been widly popular and influential for its frank discussions on love and humanity. Norwegian saxophonist Trygve Seim, has appeared on over 20 ECM albums, and recently demonstrated his wide stylistic range on dates lead by Sinikka Langeland, Mats Eilertsen and Iro Haarla. “Rumi Songs” his new release, debuts his new quartet featuring mezzo-soprano of singer/actress Tora Augestad, Frode Haltli; accordion, and Svante Henryson on cello. “Rumi Songs” is the continuation of a 2003 project that Seim began after being encouraged by the late mezzo-soprano Anne-Lise Berntsen.
Seim’s interpretations of Rumi’s poetry are drawn from the English translations by Coleman Barks and Kabir Helminski and set to music retain the beauty of the rich imagery conjured in the poetry. Seim’s quartet with the unusual combination of voice, tenor saxophone, cello and accordion bring wondrous textures that float underneath Augestad crystal voice in pieces influenced by Indian, Middle Eastern music, the Lieder opera tradition of in a border free melange. The whole album is terrific, but three tunes in particular really stand out. Seim’s tenor is a completely integrated ensemble color on the arresting beauty of “Your Beauty”, a longing, rapturous chord progression made attractive by the accordion, and cello is enhanced by Augestad’s melancholic vocal. Seim adds to the simplicity of the melody, choosing his spaces wisely. “Seeing Double” takes advantage of the natural tango implications the accordion brings to table, Haltli providing a playful, mischievous air to his solo. Seim rephrases the melody in a much darker hue, bending notes in a very vocal fashion, something that is one of his trademarks. “When I See Your Face” uses Augestad’s voice again to notable effect, Rumi’s words taking on a much more pessimistic form of existence, the solos by Seim and Haitli become a Middle Eastern inspired collective dance, over Henryson’s drone.
The concept of setting Rumi’s poems to music that is both thick with melody, intrigue and drama is a winning combination. Much like his countryman Jan Garbarek, Seim is an instantly recognizable voice on his instrument who uses all the musical resources available to him to tell a compelling story.
Reviewed by C J Shearn
ECM 473 2253
Tora Augestad: vocal; Trygve Seim: tenor and soprano saxophones; Frode Haltli: accordion; Svante Henryson: violoncello
Recorded February 2015
The poetry of Rumi has been widly popular and influential for its frank discussions on love and humanity. Norwegian saxophonist Trygve Seim, has appeared on over 20 ECM albums, and recently demonstrated his wide stylistic range on dates lead by Sinikka Langeland, Mats Eilertsen and Iro Haarla. “Rumi Songs” his new release, debuts his new quartet featuring mezzo-soprano of singer/actress Tora Augestad, Frode Haltli; accordion, and Svante Henryson on cello. “Rumi Songs” is the continuation of a 2003 project that Seim began after being encouraged by the late mezzo-soprano Anne-Lise Berntsen.
Seim’s interpretations of Rumi’s poetry are drawn from the English translations by Coleman Barks and Kabir Helminski and set to music retain the beauty of the rich imagery conjured in the poetry. Seim’s quartet with the unusual combination of voice, tenor saxophone, cello and accordion bring wondrous textures that float underneath Augestad crystal voice in pieces influenced by Indian, Middle Eastern music, the Lieder opera tradition of in a border free melange. The whole album is terrific, but three tunes in particular really stand out. Seim’s tenor is a completely integrated ensemble color on the arresting beauty of “Your Beauty”, a longing, rapturous chord progression made attractive by the accordion, and cello is enhanced by Augestad’s melancholic vocal. Seim adds to the simplicity of the melody, choosing his spaces wisely. “Seeing Double” takes advantage of the natural tango implications the accordion brings to table, Haltli providing a playful, mischievous air to his solo. Seim rephrases the melody in a much darker hue, bending notes in a very vocal fashion, something that is one of his trademarks. “When I See Your Face” uses Augestad’s voice again to notable effect, Rumi’s words taking on a much more pessimistic form of existence, the solos by Seim and Haitli become a Middle Eastern inspired collective dance, over Henryson’s drone.
The concept of setting Rumi’s poems to music that is both thick with melody, intrigue and drama is a winning combination. Much like his countryman Jan Garbarek, Seim is an instantly recognizable voice on his instrument who uses all the musical resources available to him to tell a compelling story.
Reviewed by C J Shearn
