Arild Andersen Group: Affirmation

For almost half a century, Arild Andersen has been a pillar of Manfred Eicher's ECM label. His ECM albums have traversed dissimilar territory, from the brooding Shimri (1976), the folk-influenced Sagn (1990), to the orchestral grandeur of Live at Belleville (2008). At seventy-seven, the Norwegian bassist offers the almost entirely improvised Affirmation. Andersen is joined by tenor saxophonist Marius Neset, pianist Helge Lien, and drummer Håkon Mjaset Johansen. Andersen recorded with Lien on The Rose Window (Deutsche Media Productions, 2016) but this all-Norwegian quartet is otherwise an original collaboration.

Neset was raised on post-rock and classical music. He later attended the conservatory in Copenhagen where Django Bates became his mentor. Neset went on to play in Bates' Human Chain and with the Trondheim Jazz Orchestra. The saxophonist has recorded more than a dozen leader/co-leader albums. Lien has led his namesake trio and a duo with saxophonist Rolf-Erik Nystrom. His playing has been compared to that of Keith Jarrett and Brad Mehldau. Lien has recorded two Americana-style collections with dobro player Knut Hem. Mjåset Johansen also played with the Trondheim Jazz Orchestra in 2000 when the ensemble featured Chick Corea. Other collaborators include Bugge Wesseltoft and Jan Garbarek.

Affirmation is divided into overarching groupings "Part I" and "Part II," further segmented into seven chronological sections and one additional piece. On "One," Andersen and Lien offer a plaintive introduction to set up Neset. The saxophonist's playing is reminiscent of the shamanistic work of Andersen's label-mate Garbarek. While Andersen propels the direction, the soundscape is expanded through Lien's undulating piano and Mjåset Johansen's subtle cymbal accents. The more animated "Two" features two solo sections from the bassist, the latter, furiously intense. "Four" is a spontaneous swing piece that morphs into a frenetic noise celebration.

Andersen provided the group with minimal direction for these improvisations. Pieces such as "Five" and "Seven" belie that hands-off approach. The symmetry of the first, and the unassuming lyricism of the latter speak to a maturity that is unexpected in a debut recording. The quartet closes Affirmation with Andersen's stylishly slow-building composition "Short Story." The album is full of impressive collaborations, understated shadings from Lien, and long lines and clipped responses from Neset. Both are outstanding leaders in their own right and excel in an open forum. Andersen plays as if he has just reached his peak. An impressive and challenging listen.

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