Angles 9: Disappeared Behind the Sun

The nonet, Angles 9, returns fully intact from their Injuries (Clean Feed, 2014) and with a powerful political and social statement on Disappeared Behind the Sun. The direct correlation between the title and the content is the imprisonment, torture, murder and starvation of innocent victims of world conflicts. Even without the seeming advantage of words, the group—led by saxophonist—Martin Küchen, conveys a depth that is emotionally dynamic and piercing.

Originally a sextet, the core group has changed little since its Clean Feed debut Every Woman is a Tree (2008). Original drummer Kjell Nordeson was replaced by Andreas Werliin in 2013 and trumpeter Magnus Broo missed the live By Way of Deception (2012) but returned on Injuries. Trombonist Mats Äleklint, Mattias Ståhl on vibraphone and bassist Johan Berthling, all original members were joined by Alexander Zethson on piano, Goran Kajfes on cornet and baritone saxophonist Eirik Hegdal, as the group expanded.

Küchen's plaintive solo wailing finds release in Werliin's snare as the two push "Equality & Death (Mothers, Fathers, Where Are Ye?)" from harrowing to what could be a celebration of something—or someone—found. The aggressive beat, harmonizing with a pulsating melody sets the stage for Zethson's repetitive piano and a responsive Broo solo on "Ådror." "Pacemaker" has that unique Angles 9 characteristic of blending a New Orleans feel with loopy free improvisation. Here, as on "Ådror," Ståhl's vibraphone lends a gentle quality that neither dominates nor shies away front the horn-dominated front line. The eleven-plus minute title track is a tour de force of shifting sensations. Broo and Zethson shine together as do Werliin and Ståhl in their own space before Berthling's bass and Hegdal's baritone drop the piece into a frenzied swirl. "Love, Flee Thy House (In Breslau)" closes the album somewhere between melancholy and despair; fitting as Breslau was a Nazi occupied city—now named Wrocław and located in Poland.

From their beginnings, Angles/Angles 9 have traded in complex narratives, stories that need to be told but often take a back seat to superficial concerns. Mixing sadness and unbridled joy, the group continues to make music that matters. Just as important, it is—and has long been—some of the most compelling improvised jazz coming out of Sweden or anywhere else. Disappeared Behind the Sun will certainly end up on some "best of" lists.