Friis Nielsen is one of the best kept secrets of the European improvisational scene, even though he collaborates regularly with high-profile performers like Peter Brötzmann, Louis Mohlo-Mohlo, Mats Gustafsson and, obviously, Anker. Friis Nielsen uses the electric bass as a rhythmic- percussive keyboard, mutating the strings with different objects, always suggesting elaborate rhythmic concepts that became the backbone of this set's improvisation.
Ligeti expanded this concept with massive, poly-rhythmic drumming while Anker suggested a different perspective, avoiding a similar muscular manner to magnify the energetic flights Friis Nielsen and Ligeti. She wisely offered much more introspection and nuance, which colored the intense interplay with softer shades. Her inventive ideas included sticking a water bottle to the alto sax bell. The trio's highly personal approach melded organically into an inspiring and powerful demonstration of free improvisation, a beautiful close to a successful festival.
I love jazz because I am a singer and jazz inspires me.
I was first exposed to jazz when I was a baby. I grew up in a a musical family.
The best show I ever attended was Dianne Reeves with Romero Lubambo in Rio de janeiro, and Youn Sun Nah at the Vancouver
Jazz festival in 2010.
The first jazz record I bought was Sarah Vaughan.
My advice to new listeners is keep your ears and heart opened for good music.