Geir Lysne Ensemble: The Grieg Code (2009)
With his smallest ensemble yetthough, at 13, still a sizable group with plenty of musicians doubling or tripling to provide Lysne a broad sonic paletteit's his first album to also feature the composer/conductor as an instrumentalist. "Døse Dås" is a miniature for his soft, breathy tenora brief interlude between more cinematic compositions, providing a distinctive yet somehow indefinable Norwegian ambience. Of course, with the music all based on that of Norwegian classical composer Edvard Grieg but radically reworked into original compositions by Lysne, it's no surprise that there's more than a hint of Nordic cool. Lysne's compositions cleverly take snippets of music by Grieg and significantly rework them into forms unrecognizableexcept, at best, to the well- versed Grieg fan. As Lysne explains, "A lyrical soprano line became a cool bass line, three octaves down and in reverse."
last heard on his own Lucid Grey (DRAVLE, 2009)on an increasingly intensifying solo that begins over a spare pulse created by horns and percussionist Terje Isungset's Jew's harp, but gradually gains weight when the rhythm sectionbassist Bjørn Kjellemyr, an alumnus of guitarist Terje Rypdal, and drummer Andreas Bye, a past member of Bugge Wesseltoft's New Conception of Jazzenter to provide a more rock-steady rhythm.
While a Nordic vibe imbues Lysne's music, there's no shortage of fire to contrast with the ice. The genre-busting "Vebburedon" features saxophonist Tore Brunborg
, before a cacophony of voices over marshall drumming lead to a set of odd-metered changes and a baritone solo by Steffen Schorn that begins in warm-toned, John Surman territory, but ultimately turns brasher and more free, finally fading to black.
Lysne is a broad colorist, over whom the spirit of the late Finnish composer/drummer Edward Vesalaalso a strong reference point for Seimlooms large, especially on the tone poem "Wonde Hinsisi," where dense horns and turbulent, low-end percussion create a simmering chaos beneath Eckhard Baur's plaintive voice and panning trumpet. He's also a cultural cross-pollinator, with Brunborg's lyrical Irish flute opening "Glossi Vangse." A pedal tone sets the foundation for a horn arrangement that elegantly references another great composer/arranger, Vince Mendoza
That Lysne has so many releases under his beltsome recorded at the legendary Rainbow Studio in Oslo, all recorded, mixed and mastered by the studio's equally famous engineer, Jan Erik Kongshaug, for crystalline transparencyyet remains a lesser-known name than many of his contemporaries deserves to be changed. The engaging and creative large ensemble music of The Grieg Code is the perfect entry point to this remarkable composer/bandleader.
Track Listing: Transid Nias; Memorits N'Gneng; Blog Her; Vebburedong; Wonde Hinsisi; Døse Dås; Glossi Vangse; L'omal.
Personnel: Geir Lysne: tenor saxophone, flute, piccolo flute, tenor saxophone solo (6); Morten Halle: alto and soprano saxophones, flute, piccolo flute, soprano saxophone solo (1); Tore Brunborg: tenor saxophone, flute, Irish flute, tenor saxophone solo (4); Steffen Schorn: baritone saxophone, contra alto clarinet, bass flute, baritone saxophone solo (7); Eckhard Baur: trumpet, flugelhorn, lead vocals (5), trumpet solo (5); Jesper Riis: trumpet, flugelhorn, Danish lyrics (5), trumpet solo (2); Arkady Shilkloper: French horn, flugelhorn, French horn solo (8); Helge Sunde: trombone, trombonium, trombone solo (8); Lars A. Haug: tuba, tuba solo (1, 3); Jørn Øien: keyboards, electronics, keyboards solo (8); Bjørn Kjellemyr: bass, bass solo (2); Andreas Bye: drums; Terje Isungset: percussion, Jew's harp, voice, Jew's harp solo (1), stones solo (3).
Record Label: ACT Music
Style: Modern Jazz