Rolf Thofte: Martha's Dance

When musicians are inspired, it shows. Danish trumpeter Rolf Thofte deftly takes the reins of leadership on Martha's Dance. Dedicated to his daughter, the release has an accessible jazz style to it for a diverse audience. Though there is some free styling here and there, the tracks are well composed and keep the listener engaged. These seven compositions are further accentuated by some of Scandinavia's exceptionally talented musicians like Andreas Toftemark on tenor sax, pianist Rasmus Sørensen, Jakob Roland on double bass and percussionist Henrik Holst Hansen.

At the onset with "The Big 5," the quintet's style and energy come off smoothly. From delicate piano solos to balanced ensemble teamwork, the track situates the audience in a lively atmosphere that is lighthearted. "The Big 5" and the other tracks are smartly put between the five-to-seven-minute markers. This allows for some flexibility with handling the tunes. Thofte is not only competent at wheeling about with his instrument, but he is sensitive to the space and time the other musicians take up. The transition to "Changing Tides" further displays the skilled savior-faire of controlling each track's tone (not only at the start of the piece but all the way through). It is another svelte composition that appears and disappears with ease.

Thofte's debut is a love song to jazz. There are notes of John Coltrane as well as Wayne Shorter stippled throughout. But he does not simply refer to these legends; he looks to where the genre is headed as well. Many post-bop artists (think Al Foster, Joe Farnsworth, Eddie Henderson) and contemporary groups blend the old and the new, assimilating techniques that are standard practices while still attempting innovation through expressionistic solos or by merging other genres, such as R&B or bossa nova. As with "Bendico" and "Vice Versa," the group plays with rhythm and how sounds are layered together. Though the overall sound is more traditionally centered—we do not get Afro beats or South American atmospheres—Thofte keeps the tunes moving, keeps them fresh as the compositions unfurl.

Martha's Dance celebrates being jazzy, highlighting the talents of exceptional musicians working in tandem. Thofte's direction makes the tunes dance. They are also varied enough to exhibit how a team can keep a cohesive sound without getting stale. "Martha's Dance" exemplifies this idea of wandering outside the established sonic textures in exciting ways. Though the quintet might have pushed themselves to innovate a bit more, aligning with the current European sensibilities, the whole still surprises the listener in toothsome ways.

Comments