While Anglo/Norwegian musical encounters have recently been on the riseNorway's In The Country
and Jaga Jazzist
, for example, recently discovering respective nexus points with British pedal steel guitarist BJ Cole and the Britten Sinfoniait's of no small significance that Food has been exploring trans-national connective threads for a considerably longer time, with its eponymous 1999 recorded debut on British saxophonists Iain Ballamy
's Feral imprint recorded nearly 15 years ago, at the 1998 Molde International Jazz Festival.
But much has changed since that first recorded encounter. It's been nine years since Food released its final quartet album, 2004's Last Supper
(Rune Grammofon), before paring down to the remaining team of Ballamy and percussionist Thomas Strønen
. Since then, Food has not only succeeded as
a duo; the group has also become a revolving-door collective of sorts, with invited guests like pianist Maria Kannegaard
and keyboardist Ashley Slater on Molecular Gastronomy
(Rune Grammofon, 2008), and trumpeter Nils Petter Molvaer
and Austrian guitarist/soundscapist Christian Fennesz
on Quiet Inlet
, Food's 2010 ECM debut.
If moving to ECM has given Food greater international presence, Mercurial Balm
deserves to garner the group even greater acclaim. With not just two guests, including the returning Fennesz and Molvær, but four collaborators also featuring guitarist Eivind Aarset
and Indian slide guitarist/vocalist Prakash Sontakke, Mercurial Balm
's biggest changeone reflected by the group's 2012 Trondheim Jazz Festival performance
is that Ballamy and Strønen are no longer inviting single guests to flesh Food out to a trio; instead, they're recruiting two guests to make it a quartet, at least on four of Mercurial Balm
's ten spontaneous compositions, recorded both live, at both Britain's Cheltenham Jazz Festival and Victoria Nasjonal Jazzscene in Oslo, but also at the latter city's renowned Rainbow Studio.
As ever, virtually every member of the group's various lineups has the word "electronics" tagged on to the end of their instrument listingeveryone but Molvær, whose sole appearance, barring a touch of reverb, is both curiously un-effected and, given his normal predilection for processing, a most compelling argument against those who assert that those who employ electronics do so because they need
to. Instead, electronics have become integral, organic and seamless extensions when desired
, andsupported by Fennesz' lush soundscapes and Strønen's textural percussion (electric, acoustic and
electro-acoustic)the interaction between the trumpeter and equally unprocessed Ballamy on "Moonpie" is irrefutable assurance that their instrumental acumen remains as strong as ever.
But the three tracks that represent Food's biggest move forward are those with Aarset and Sontakke. Beyond Aarset's ownand, contrasted with Fennesz, completely differentapproach to sonics, Sontakke's Indo-centric steel guitar and plaintive singing move the group into new territory. Mercurial Balm
is not without precedence in Food's previous work, but Sontakke further augments its broodingly beautiful tendencies to the tranquil and the propulsive, and the oblique and the lyrical by enriching the group's cultural touchstones. It's the group's most impressive recording yet, and with Strønen and Ballamy's intrinsic electro-acoustic sophistication now enhanced with a greater cast of characters, all ears should be focused on where this eminently accessible yet unfettered improvising unit will go next.