Norwegian Jazz 101b: JazzNorway in a Nutshell 2010
Since moving to Norway some years ago, Maria Kannegaard has slowly built a catalog of releases as methodical as the expat Swedish pianist's writing and performing. Her Nattjazz show, in Studio USF, was a lesson in control and steady revelation, rather than overt virtuosity and technical wizardry.
Not that Kannegaard or her triofeaturing in-demand bassist Ole Morten Vågan and drummer Thomas Strønenare lacking in the technique department; Vågan, in particulara member of a number of important young Norwegian improvising groups including Motif, pianist Håvard Wiik's trio, and saxophonist Tore Brunborg's trio (responsible for 2009's acclaimed DRAVLE release, Lucid Grey)is a powerful bassist who slaps, pulls and strums his strings with such ferocity that, more often than not, he needs to retune between pieces (and sometimes during, but his ear is so attuned that he manages to do so without being noticed). Visually, he's a player who clearly and quickly enters "the zone" to which so many players aspire, and in the context of Kannegaard's trio, he was often its strongest melodic member, as the pianist used repeated motifs to gradually and inevitably build her pieces to dynamic climaxes that would, only then, move forward into new segments.
Kannagaard's music is often about dissonance, angular harmonies and dense voicings with a near-minimalist pulse and a seemingly tacit avoidance of conventional soloing. Still, while it was well into the set before she took anything resembling a solo (Vågan often led the way and, in the instances where he didn't, Strønen acted as the trio's other dominant voice), when she did rise above the clear egalitarian sound of the group, she demonstrated an ability to build her own turbulent, forward-and-backward rippling cascades and layered, jagged harmonies. Performing material largely from her most recent release, Camel Walk (Jazzland, 2008), Kannegaard stretched time even further than on the disc, building her dynamics and hypnotic repetition to what might have been a fever pitch, except that the trio's approach was so controlled in its slow, steady development, that what might have been overt melodrama in lesser hands became something more powerful and compelling, despite an almost complete absence of strong melody on which to grab hold.
Strønen is another Norwegian player who seems to be everywhere at once. Co-founder of the Anglo/Norwegian collective Food, whose Molecular Gastronomy (Rune Grammofonm, 2008) found the decade-old group pared down from a quartet to a duet with guests, the percussionist is no stranger to international audiences. His Humcrush duo features keyboardist Ståle Storløkken, and his Parish quartet includes pianist Bobo Stenson. Unlike his more electronic experimentation with Food and Humcrush, however, with Kannegaard, his focus is entirely acoustic. He still, however, manages to create a rich tapestry of sound through the use of hand percussion, a wide variety of sticks, his hands and an unfettered approach to the possibilities of his kitnot to mention the kind of open ears that allow Kannegaard's sometimes quirky, sometimes softly melodic music to ebb and flow with remarkable precision. Kannagaard's often quirky compositions may be sketch-like on paper, but they say a great deal when brought to life in the context of her trio.
In a scene that's gaining increasing international attention, there are still players who, for a variety of reasons, haven't been able to make the leap past the confines of their country's borders. Founder of the seminal '90s group Element (originally inspired by John Coltrane's classic quartet), saxophonist Gisle Johansen found himself without a band in the late 1990s when its other memberspianist Håvard Wiik, bassist Ingebrigt Håker Flaten and drummer Paal Nilssen-Lovemoved off to form the ongoing and successful group Atomic. Johansen has come and gone from the scene, a member of free improvising groups like Crimetime Orchestra and Jazzmob, but he's on the comeback trail again with a reformed Element and a new album. Well, it's not exactly new, but the 2002 recording date features a curiously configured octetaccordionist/flautist/guitarist Stian Carstensen, pianist Bugge Wesseltoft, the triple bass line-up of Flaken, Bjørnar Andresen and Eivind Opsvik, Love and keyboardist Anders Aarum. Unusual lineup aside, Transformation to Paradise (Jazzaway, 2009) also shifts toward more electro-centric interests, with Johansen expanding the sonic potential of his instrument, much as many of the artists around him have in the years since Element first dissolved.
For his Nattjazz performance at Studio USF, Johansen brought together an almost entirely new group called Element: Special Edition. Only Wiik remained from the original line-up, with Johansen recruiting a line-up of doubles: in addition to acoustic pianist Wiik, Anders Aarum on Fender Rhodes; acoustic bassist Per Zanussi and electric bassist Per Mathisen; and guitarists Vidar Busk and Nils Olav Johansen. Only Johansen and drummer Franklin Kiermayera Canadian expat who lived in New York for many years but recently relocated to Norwayheld down their positions alone, resulting in an octet that resembled that of Transformation to Paradise in its expanded sonics and free flights of imagination, but sounded closer to the dense jungle grooves of Miles Davis' '70s-era electric music.
From left: Håvard Wiik, Vidar Busk, Per Zanussi, Gisle Johansen
Per Mathisen, Nils Olav Johansen, Franklin Kermayer, Anders Aarum
Two pieces took up the entire set with an emphasis on modality and a combination of maelstrom-like activity and periods of visceral groove. Johansen, feeding his tenor through a variety of effects processors, doubled up his lines with a pitch shifter and ran the gamut from surprisingly spare linearity to expressive screams and stream-of-consciousness wails. Solos were liberally spread among the octet, with Kiermayer, a ferocious player capable of temporal elasticity and densely muscular pulses, the perfect choice for a group that required an ability to work in absolute freedom, but also the ability to work within structural confines. Why this underdog player isn't better known is a mystery, and a real shame.
Mathisenheard recently with drummer Alex Acuña and keyboardist Jan Gunnar Hoff on Jungle City (Alessa, 2009) and with fellow Norwegian trombonist/composer Helge Sunde's Ensemble Denada on Finding Nymo (ACT, 2009)is a proven double-threat, as frightening on double-bass as he is the electric kind. Here, focusing on an electric bass fed through an array of effects, Mathisen balanced between locking in on the riff-driven second piece and creating more in-the-gut sonics on the extended opener. Zanussi proved an equal force on double-bass, a harder-edged player delivering muscular and, at times, frenetic lines that combined with Mathisen and Kiermayer to create a constantly shifting polyrhythmic undercurrent.
Wiik, whose The Arcades Project (Jazzland, 2007) demonstrated a remarkable, modernistic, line-blurring, form-meets-freedom approach that made it a highlight of the year, was given free reign twice during the set. Both times, the musician delivered solos that were staggering in their complexity, near-light speed ideation and sheer aggression. His playing, then, was a perfect foil for Aarum, whose Rhodes work was more ethereal, providing the kind of contrast necessary to prevent a set this loose from becoming either relentless in intensity or meandering in focus.
It's always exciting to encounter new names, especially when they're as good as guitarists Busk and Nils Olav Johansen. Busk, with a very specific way of using a pitch shifter, wah wah pedal and whammy bar, seemed rooted in Pete Cosey territory; a blues player thrown into the frying pan, perhaps, and with a more limited language than Johansen. He was effective, nevertheless, in both his solos and when he created a sonic backdrop that seemed greater than the sum of its individual instrumental parts. Johansen, however, was the revelation of the set. A member of Farmers Market with Stian Carstensen, and whose My Deal places a very unique spin on a set of what the guitarist calls "American Evergreens," with Element, he ran the gamut from Mahavishnu Orchestra-like arpeggios to two-handed tapping to lines possessing an Indo-centric microtonality.
The set did occasionally feel a bit too much like a jam band, but with players far contextually broader than would normally be expected. It's too early to know if Element and Gisle Johansen are back for the long haul this time, but based on his Nattjazz performance, he's clearly at the top of his game. He delivered the goods with a winning combination of fiery intensity and endless invention. There were plenty of laughs going around the stage; if the success of a performance can be measured by how much fun the group is having, then Element's show was very successful, indeed.