Performing music from its recent debut, Old Ghost
(Gateway Music, 2013), the group was slightly disadvantaged by a last minute substitution for regular guitarist Soren Dahl Jeppesen
, but his replacement (name unknown) seemed to fit in well with the rest of the groupguitarist Per Møllehøj, double bassist Tapani Toivanen and drummer Andreas Fryland. With both guitarists favoring warm, hollow body tones, the combination with Drasbæk's rich baritone, the similarly deep sound of double bass and only Fryland's cymbals providing much of any high frequencies meant an intrinsically attractive sound that was all the more so thanks to its leader's easy-on-the-ears writing.
While the tendency was towards a lovely, lyrical, dark and earthy sound, there were moments where the group swung elegantly, in a very modern way, while elsewhere in the set the two guitarists not only demonstrated some fine interplay, but in a way that wasn't afraid of getting too close, harmonically speaking; a risky move, to be sure, but one which succeeded admirably.
That Drasbæk only picked up the baritone a few years ago made the success of his showcase all the more unexpected, perhaps, but while his primary early influence, Swedish baritone saxophonist Lars Gullin
, seemed to loom a tad large over Drasbæk's overall approach, it was also clear that here, in the context of this unusually configured quintet, this young saxophonist has already found his own voice, both as a performer and a writer.
Singer Live Foyn Friis was up next, with her regular quartet of guitarist/backing vocalist Alex Jønsson Christensen, double bassist/backing vocalist Jens Mikmkel Madsen and drummer Andreas Skamby joined by a four-piece string section (violinists Amalie Kjældgaard and Louise Gorm; violist Mikkel Schreiber and cellist Maria Edlund). Cited as an up-and-comer on the Danish scene with her first album, Joy Visible
, both critically acclaimed and nominated for Best Vocal Jazz Album at the 2012 Danish Music Awards
, there was no denying her appeal to the Jazzahead! audience.
If there was any single complaint, and it has to be said, it's that as lovely a singer as she was, there was a little too much Björk in both her presentation and the quality of her voicesoft, slightly innocent and almost naïve, but without the unexpected extremes and more experimental nature of the vastly influential Icelandic singer. Still, there are far worse influences to cite, and if Friis demonstrated at least some of Björk's ambition by the very addition of a string quartet to her regular group, and the fact that this is Friis' first recording, versus Björk having already achieved much with the Sugarcubes prior to launching her solo career in 1992, perhaps it's unfair to judge so soon or so quickly. Certainly, while the strings added an extra dimension to her music impressionistically introduced, for example, as "a tribute to the spring sun after a long winter"her core group clearly has some ideas of its own, with Christensen, in particular, contributing some nice effects-laden color.
Like Christensen, Friis also employed some electronics, in particular on the opening song, where she used a harmonizer to create a softly layered effect. Still, she didn't resort to overusethough, if there were any other complaint to be made it would be that, at times, there was so much going on around her with guitar, bass, drums and string quartet as to overwhelm her delicate voice. Not so much in terms of the amount of sound, but the amount of music actually being playedthough it may have been the room, as other artists mentioned, over the weekend, that it did feel a little weird to them. Still (and again), it was a bold move to bring a group double its normal size to a showcase event, and for any marks lost Friis made plenty more for being just plain bold enough to make the attempt. Perhaps, then, there's more to be considered about this apparently Björk-informed singer, whose stage presence was gentle and generally quite lovely.
The last time the curiously monikered Girls in Airports was seen was in a very packed, very hot and very sweaty Hamburg club called Golum, part of the 2013 ELBJazz Festival
. While there was something to be said for this grouplike Aske Drasbæk's group, another curiously configured quintet that this time paired two saxophonists (Martin Stender and Lars Greve) with a keyboardist (Mathias Holm), drummer (Mads Forsby) and percussionist (Victor Dybbroeit was tough to really assess the group, as it just barely fit on the Golum stage, the sound was more than a challenge, and it was so crowded that it was just about possible to remain upright with both feet lifted off the ground.
The environment, sound and overall context for the group's Jazzahead! showcase was much, much better; there was plenty of room for everyone to actually move about a bit, though as it turned out, everyone but Dybbroe was fairly static. Still, the grooves were much clearerand with drums and percussion this was
a group about groove, in some ways reminiscent of early Portico Quartet
before co-founder/hang player Nick Mulvey left the group and it turned far more electronic (and, at the same time, far less intriguing). While both saxophonists demonstrated no shortage of chopsin particular Greve, whose circular breathing and simultaneous leaping around registers and harmonics was most impressivethe music was similarly form-based, with Holm doing double duty as both chordal provider and low-end supportersometimes on his Fender Rhodes, sometimes on a synthesizer.
The music often revolved around repetitive keyboard figures, with truly pan- cultural influences coming from climes as distanced as Africa, Asia and, according to the press literature, Nordic countries (though that was the least obvious reference point). But this was, ultimately, music that sounded easy but had plenty more going on under the covers. Some of the writing was episodic in nature, with melodies written for a variety of reed combinationsfrom two tenors and tenor and clarinet (Greve) to alto (again, Greve) and soprano (Stender)that provided plenty of tonal variety, even as the writing would begin with the two horns in unison, then open up into broader harmony, only to pull back into unison once again.
The Girls' closing piece was particularly impressive, with Dybbroe moving from congas and other hand percussion to some kind of balafon for an a cappella
intro. More's the pity that when the rest of the group came in, this wonderful, woody sound was swallowed up amidst the density surrounding it. But regardless, Girls in Airports, chosen by the Danish Arts Council as its Young Elite
pick for 2013, was another group in this evening of Danish artists that will hopefully find its way across the pond to North America and beyond as the result of its fine showcase performance.