Dutch pianist Wolfert Brederode returns to a piano trio format after the quartet albums Currents (ECM, 2007) and Post Scriptum (ECM, 2011). Not only a trio, but also new playing partners in bassist Gulli Gudmundsson and drummer Jasper van Hulten . While there's no radical stylistic shift with the new bandit's still mainly about mood and atmospherenew material was written with these musicians in mind.
The well-titled "Elegia" opens the album, setting the plaintive, elegiac tone. The title tune is built on a bass ostinatoyet it still somehow feels rhythmically untethered, except for a moment near the end when Brederode's piano introduces a bit of thematic material, joined by the bass in a brief departure from its repetitive pattern. It's the kind of subtlety this band delights in. "Bemani" begins rubato, piano chords with long arco bass tones; then the band comes together in time for the final section.
Gudmundsson's contribution "Conclusion" shares the rubato feel, but with his bass taking the lead. Van Hulten's drums are so light here they are almost completely textural. In contrast "Fall" opens with the drums forward, playing a fractured rock rhythm, then the piano breaks into a catchy theme with the bass doubling. It's a different sound, showing a more extroverted side of the groupmore of this would have been welcome. An entire album in that style would almost sound like a different band. "Curtains" is another lovely jazz tune, this time with a more traditional feel in the rhythm section: memorable solos from Gudmundsson and Brederode. "Bemani" and "Fall" are both reprised at the end of the program, in brief, abstract Variations that strip them down to their essence.
Track Listing: Elegia; Olive Tree; Bemani; Black Ice; Cocoon; Fall; Terminal; Conclusion; Curtains; Rewind; Bemani (Variation); Glass Room; Fall (Variation).
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.