Quoting Stanko from the liner notes: "I play regularly with Bobo Stenson, and he and I both knew he'd play Komeda's tunes even better than he plays mine. I gave Bobo all the archive recordings but what he plays is all his. Often he doesn't even use Komeda's chords.
" (emphasis mine). The notes also give an idea of the long relationships that exists between the players. Bernt Rosengren was with Komeda before Stanko himself. Christensen goes back with Stenson to the 70s in Garbarek's groups, and Milder and Stenson both count Borje Fredriksson a major influence.
"Svantetic" clearly shows Komeda's compositional method of building from small cells of notes, and "Night-time, Daytime Requiem" (for John Coltrane) shows how Komeda can maintain listener interest within his larger (20 minute) forms. Komeda managed to mix the symphonic with jazz, being free and controlled simultaneously. Since Stanko and Rosengren were with Komeda, and since everyone else has a close relationship, these recordings give a good idea of what the originals sound like. Tomasz Stanko
1997 (1997) Tracks Leosia
is one of the most overlty beautiful and haunting records in the ECM catalogue, and to many represent Tomasz Stanko's high point of creation thus far. Stenson is directly involved with the total sound of the album, and has a direct musical connection with the leader.
From the opening chords of "Morning Heavy Song" to the closing arpeggios of the title song, Stenson's subtle touch, chordal voicings and emotional intensity combine with Stanko's mournful trumpet to create music of loss and hope. He and Jormin, his long time playing partner seem to share the same mind and their slow burn complements Stanko and urges him on.
This album catches Stanko in between his earlier very free period where phrases seem to go everywhere and nowhere simultaneously and his current work which, while losing none of its intensity, has a much more easily grasped structure. Charles Lloyd
1997 (1996) Tracks
Stenson's relationship with Charles Lloyd at ECM lasted through five albums, of which Canto
is the last. In terms of other musical relationships, Anders Jormin and Palle Danilesson on bass and Jon Christensen on drums are to be found during this period. One might think that someone like Stenson, with his Scandinavian background, might not mesh with Lloyd who has an extremely personal style and a California history. However, Lloyd's mystical side, and its expression through music binds the performers together.
"Tales of Rumi," which is sixteen plus minutes long and starts of the record, is introduced by Stenson plucking and tapping the piano strings, then intimating the melody as the tension and intensity increases over the static harmony until Lloyd enters. Always very inventive, Lloyd speaks with his saxophone, staying away from the pulse for long periods of time, only to drop right on it at a moment's notice. Stenson fits right in, taking a dramatic solo in the second half as the music peaks.
Lloyd also has some trademark things that he repeatedly does, such as playing repeated notes with different fingerings and reaching notes through a sliding cry that vocalizes every line he plays. Lloyd's compositions tend to spin out from a diffuse structure, so the listener must just let it wash over her as his music, which does have time, melody and harmony just refuses to settle down, and which can be quite rewarding and healing for those able to do so. Lars Danielsson
Live at Visiones Dragon
1997 (1996) Tracks
Ostensibly led by Lars Danielsson, this group feels more like a cooperative, although Liebman, playing soprano saxophone, sounds like the performance
leader. With only five tracks taking up an hour, there is much time to stretch out, and the band plays very hot, especially "Little Peanut" where everyone, including Stenson really takes off. This is hot
Stenson, and a live version a band represented by the studio recording of Poems
The music itself is kind of post-Coltrane modal with a strong beat provided by a bass vamp from Danielsson or from Christensen's drumming. Liebman plays quite freely over the bubbling backdrop, and Stenson's comping shows he is always listening, many times echoing Liebman. A fine album that has that "I wish I had been there" feeling in capturing a wonderful set.
Trine-Lise Vaering When I Close My Eyes Stunt
1996 (1995) Tracks
Trine-Lise Vaering has one of those effortless voices with little vibrato that just flows from her to the listener. The effect is the direct communication of her lyrics that carry deep emotion with profundity and sincerity. She projects vulnerability both through her voice and her words, and the total effect can be memsmerizing.
Vaering wrote the music to most her lyrics, but even that written by Fredrick Lundin, who plays saxophones and flutes on a number of tracks, ends up being of a piece because the strength of the lyric's structure. The most normally structured lyric is "Portraying a Heart," which only highlights the difference of the other tracks.
Stenson plays on all tracks except "We Shan't Be Told," and always adds to the performance. The music is not complex harmonically, just structurally, with many odd length phrases. "From the Book of Love" is a duet between Vaerig and Stenson that straddles art and jazz song. His poetic style, being exposed, is plain to hear. Instrumentally, the most exciting track is "Angels in the Crowd" which has but one verse sung in rubato rhythm as an introduction, after which the piano quartet eventually takes off. Rolf Ericson/Lennart Aberg
Ellington and Strayhorn Sittel
1995 (1995) Tracks
Stenson plays the blues, and for the most part avoids the more "pastel" kind of harmonies, although the Stensonian touch and line building are still there. As usual, what he does is totally appropriate to the music at hand, and his solos show a deep love of these wonderful composers. Quite different and refreshing, the tunes, both those that are well known and those lesser known, are given a deep swing that starts with Strayhorn's "The Intimacy of the Blues" and does not let up. Tomasz Stanko Quartet
Matka Johanna ECM
1995 (1994) Tracks
This is some of the most abstract music to come from Stanko. Each track is a musical "image" created from scenes of the movie Matka Johanna from the Angels
by Jerzy Kawalerowicz, to whom the album is dedicated. The music ranges from mostly percussion sounds to reworkings of tunes like "Maldoror's War Song," first heard on Bosonossa, to "Tales for a Girl, 12," which finds Stanko playing a line that makes sense without ever repeating itself. Floating, ethereal and evocative, this music is full of beautiful trumpet lines echoed by the individual band members as well as solo passages by Stenson, Jormin and Oxley.