Hedvig Mollestad & Trondheim Jazz Orchestra: Maternity Beat

Norwegian jazz-rock guitarist Hedvig Mollestad has never shied away from the big themes. Previous outings have seen her dabble with notions of Greek mythology and weather conditions, while channelling her love of guitar greats from Jimmy Page to John McLaughlin. Now with Maternity Beat, she offers a series of musings on the nature of family and social justice issues. Mollestad is backed here by the Trondheim Jazz Orchestra, whose many credits include Chick Corea and Joshua Redman. It is Mollestad's shiniest and most meticulous record to date, often quite removed from her prowling growls of yore. The bulk of this music was first performed at Molde Jazz Festival, Norway, in July 2020.

Mollestad could never be typecast as just a merchant of foreboding riffs. Her richly atmospheric outing Tempest Revisited (Rune Grammofon, 2021) allowed saxophones and vibraphone to play central roles too. Maternity Beat continues this diversity from its opening number, "On The Horizon, Part 1," as shivery guitar feedback meets smoochy brass and haunted vocals. A mini choir of female singers cries the refugee's plea: 'Is there a boat on the horizon?' "Part 2" of this piece is a real adventure, from thudding suspense to cinematic struts, like a Blaxploitation soundtrack by way of Oslo. "Do Re Mi Ma Ma" offers more surprises as childlike voices, funky bass and impish violin meet up. Across nearly ten minutes, this track screams and wallops at times, with Mollestad at her most turbulent.

Drummers have long been essential to Mollestad, just as John Bonham was to Led Zeppelin, Bill Ward to Black Sabbath, or Chad Wackerman to Allan Holdsworth. She clearly revels in the way drums rumble together, especially when in full cry as on the blazing cut "Donna Ovis Peppa." Also neat is the urgent 4/4 backdrop to "All Flights Cancelled" where Mollestad holds sway, though her fearsome soloing is more glossy than gutsy.

"Little Lucid Demons/Alfons" takes its staccato prelude into big band terrain, while the tender shimmers of "Her Own Shape" include some sung poetry on motherhood. The album's closing pieces, "Maternity Beat" and "Maternity Suite" both reach nine minutes and feel intended for self-reflection. Mystical strums on the former reach heavenly heights, whereas the latter brings a joyous burst of pride, such as any mother might feel in her creations whether human or musical. Mollestad's work never flies over our heads, even at its most profound or conceptual. Maternity Beat is a labour of love which deserves to be loved in return. Its concerns are real, but its construction is magical.