Till Brönner: Italia (earMUSIC)
A convergence of many influences may lead to messy mistakes; it can also lead to a wonderful exploration of sonic textures. German trumpeter Till Brönner’s Italia blends European jazz styles and elements of bossa nova for maximum impact. The Grammy-nominated musician reinterprets timeless classics from the 1970s and early 80s with the help of a plethora of energetic musicians (too many to name here) who really bring the sound alive with an authentic hum. Unless you knew that this album was by a German musician, you would not have guessed it.
Italian songs alongside French chansons, Spanish canciones and German Schlager abound on this project. From the start, with Estate, there is a moonlit atmosphere of retro romance. Brönner’s skills of control and tender playing are on full display, and they allow the piece to unfold with ease and a svelte sway. Then we move on to a stronger bossa-nova influence with an Italian song (even showcasing the trumpeter on vocals). Though the release traverses a variety of musical flavours, Brönner gets the balance right. His ability to keep a consistent sound is highly admirable; it only goes to show the maturity he has acquired over time.
Over an hour of similar-sounding jazz, however masterful, may tire some out. Yet Brönner and his teammates are flexible. Via Con Me, Quando Quando, In Alto Mare catch the ear nicely. More in the vein of Marcos Valle than Eliane Elias, such songs have a pop-ness to them as well as an electronic fusion which propels them forward. Some could call them exotic or elevator music at times, and they do bleed into those areas. Regardless, Brönner keeps the energy and the musical sophistication, for the most part, elevated. Italia greets listeners and sails them away to a former epoch. There, they are greeted with a graceful homage to a previous sound, albeit subtly updated with care and a conscientious hand. With flair and flourish, the trumpeter achieves what he set out to do.
Ilario Ferrari Trio: Above The Clouds (Elsden Music EM12 LP)
Trios can sometimes be restricted by the lack of instruments. Yet, Above The Clouds by the Ilario Ferrari Trio delivers some beatific tunes. Ilario Ferrari on piano, Katie Patterson on drums and Charlie Pyne on double bass make up the ensemble, yet they also all provide vocals (which act almost like a fourth team member).
Morning Samba glides with ease. It does not come off as gimmicky or inauthentic. The piece offers flavours of Brazil, though not in the same way as Stacey Kent. The track also works within the overall tone of the release. With steady percussion, thrumming bass and glittering piano, the sound can be slightly ethereal (most likely because of the hints of reverb throughout). The title track adds in the Soli Strings Quartet. The vocals also give the composition a distinctive mood. Ferrari’s works have acquired this specific blend of vocals and instruments as he’s developed his style. Though the vocals can sound raw and a bit unrefined (perhaps intentionally), it does not disturb the usual beauty of the tracks. As a pianist, Ferrari is emotional yet humble.
All things considered, Above The Clouds offers warm compositions that are not afraid to wander – as on Earth Odyssey. With a mostly coherent sound, the tracks glide by. Some parts, like the ending chorus section in Leah Meets Laika, seem forced or added-on. But on the whole, the trio (or should we say quartet!) performs smoothly. A stronger sense of movement, of shifting gears might be advisable in future projects. The group slips into slower tempos more often than not. Still, a sense of summer ease or cosy autumn permeates, and one can slip away listening. This album was also reviewed on CD by Barry Witherden.
Viktoria Søndergaard: Music Of Secrets (April Records)
Being adventurous is what jazz is all about. However, Danish vibraphonist Viktoria Søndergaard takes it to another level. Music Of Secrets is very much part of the contemporary jazz dialogue, especially in regard to the European one. The disregard for a tuneful or traditionally beautiful record is evident from the start. Enlisting like-minded musicians – vocalist Elvira Frederik Blæsild Vuust on piano, bassist Ida Duelund and Siv Øyunn on drums – the Dane doubles down on her hunger for innovation and expressionism. This is not an album for those new to the jazz world; there is an accessibility barrier, most likely unintended, here.
A project that integrates spoken word, rap, singing, screaming, whispering and more, Music Of Secrets is not conservative. (Well, it does not have five minutes of droning or static, so there is that to take into account.) Mor, Mor comes first and is one of the more approachable pieces. Tracks like The Human Noise and As Dots are much more vocally progressive, forward moving. They match steady backing instruments and voice manoeuvres that are acrobatic and raw. In a way, it is impressive, but they lack an orthodox tunefulness or beauty, which can be alienating. A sort of punk attitude comes in to manhandle traditional jazz sensibilities, shaking up expectations of what music is and can be.
The debut seems more concerned with voice than vibraphone. Yet, Søndergaard’s skills are still on display, especially in atmospheric ways. The latter half of Le Soleil Le Pain Et L’Âme gets a bit wild and allows for the percussion to come to the forefront. One sort of wishes that they’d focused more on these skills. It’s So Nice also creates compound songs by moving from one style to another. Coming off a louder section of chatting, the end appears quite lovely and tender, with a piano soloing. So, clearly, Søndergaard knows how to compose pretty sections; they are just more interested in pushing the boundaries (which is not a bad thing in theory).
