This Scandinavian trio recorded its fourth album in Seattle, WA featuring resident violaist Eyvind Kang and synth performer Timothy Mason lending their wares during various segments. An atmospheric engagement projecting a sense of antiquity, it's often what the musicians don't play that establishes the premise for the artful and rather haunting song-forms executed throughout their cunning playbook. Nestled within slow to moderate pulses, veiled with dark ambient characteristics and judicious use of electronics, the band renders a syndicate of otherworldly tone poems.
The opening track, "Long Story," is a forbearer of what follows on the remainder of the album. Containing Andreas Stensland Lowe's hallowed and electronically treated piano phrasings, the music surges forward like an ethereal dirge, strategically supported by drummer Andreas Lonmo Knudsrod's supple brushwork and accenting cymbal hits. With reverberating effects rounding out ghostly perimeters, this piece vividly casts notions of dour circumstances and tethers simple chord voicings and an elongated melody. Ominous implications transcend the norm as the trio's signature style and idiosyncratic compositional mindset equates to an unclassifiable muse that sets them miles apart from the status quo.
Personnel: Andreas Stensland Løwe: piano and keyboards; Jo Berger Myhre: double bass; Andreas Lønso
Knudsrød: drums and percussion; Eyvind Kang: viola; Timothy Mason: modular synth.
I was first exposed to jazz while working overseas in Africa as a Peace Corps Volunteer. I would listen to the Voice of America on the radio and they had a nightly jazz program on at 10:00pm. I learned a lot about jazz listening to this program. I also had a friend who listened to real jazz by artists like Charles Mingus, Eric Dolphy and Archie Shepp. On my way home from Africa I landed in New York and had the opportunity to see the George Adams/Don Pullen quartet at the Village Vanguard as well as Kenny Barron and Ron Carter at another club, and was in heaven.