Nikolaj Hess

"Providing the perfect come-down after the pyrotechnics of the opera house, the late-night solo piano recital by Danish pianist Nikolaj Hess in Christians Kirke careened between heart-melting delicacy and almost Chopinesque virtuosity. Hess is clearly equipped to face the most gargantuan technical demands, but it was the incredible fecundity of his imagination that impressed the most, whether in his inventive reimagining of "You Are my Sunshine" or the extended reverie of "Smile". As midnight struck I'm sure I heard a cannon being fired some way off in the distance, but this could have been entirely due to my hypnagogic state."" - Peter Quinn, The Art Desk "MARC MOMMAAS and NIKOLAJ HESS - Balance @ the Kitano live May 6th,2010.Dutch tenor saxophonist Marc Mommaas and Danish pianist Nikolaj Hess have a rich history as bandmates in Global Motion and other units, but their duo work is a story unto itself, borne out by the 2005 Sunnyside disc Balance

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"Providing the perfect come-down after the pyrotechnics of the opera house, the late-night solo piano recital by Danish pianist Nikolaj Hess in Christians Kirke careened between heart-melting delicacy and almost Chopinesque virtuosity. Hess is clearly equipped to face the most gargantuan technical demands, but it was the incredible fecundity of his imagination that impressed the most, whether in his inventive reimagining of "You Are my Sunshine" or the extended reverie of "Smile". As midnight struck I'm sure I heard a cannon being fired some way off in the distance, but this could have been entirely due to my hypnagogic state."" - Peter Quinn, The Art Desk "MARC MOMMAAS and NIKOLAJ HESS - Balance @ the Kitano live May 6th,2010.Dutch tenor saxophonist Marc Mommaas and Danish pianist Nikolaj Hess have a rich history as bandmates in Global Motion and other units, but their duo work is a story unto itself, borne out by the 2005 Sunnyside disc Balance. Judging from their appearance at The Kitano, Mommaas and Hess have another album in them, if not more. Each player brought material to the gig, so brand new that the songs lacked titles. But for warm-up as well as the wind- down, they matched wits on standards, first “Alone together” and later “You and the Night and the Music”. Well-worn tunes, to be sure, but the duo’s rhythmic confidence - no need for a drummer here - and spirited flow of ideas made for sweaty, play-for-keeps performances. Mommaas filled the small room with a husky tenor sound, warm and lithe and well proportioned, buoyed by Hess’ fluidity, harmonic command and palpable determination at the keys, a compelling spectacle. Following a lyrical, diatonic major-key waltz by Mommaas and two new charts by Hess (the first with slow hiccuping rhythms, the second calmer, more classically influenced), the duo put itself to the test with Egberto Gismonti’s imposing odyssey “7 Annias”. Mommaas built up to a ’60s-like fury as the bright and twisty opening gave way to an expanded minor vamp section. But the lush rubato sonorities of Hess’ tentatively-titled “folk Song” cleared the air, foregrounding the appeal of the simple and direct. ~David R. Adler, AAJ (2010)" "Passages which challenge boh musicians with the difficulty of their execution-execution which they nail with alacrity and empathetic understanding of the others’s direction. Moreover Mommaas and Hess are equally distinctive talents. Each one of them is capable of creating their own spell upon the listener through effective use of dynamics, unusual sonorities, and halting and then surging movement, which are noticeable especially on the first track, Mommaas’ theme from the movie Funny Bones, called “Funny Bones Jones”. Backed by Hess’ crashing chords and angular interjections, Mommaas is left with sufficient space to develop his own improvisation, free and yet accessible.............. “Sorcerer’s Dance”, too, consists of studied compositional originality. It starts with Hess’ free, sparkling piano solo until Mommaas comes in with a his theme, melodic in its initial statement before he proceeds into the remainder of the performance, consisting of variations backed by Hess’ light, flowing chords of subtly transforming meters. “Dialogue” finally allows Mommaas and Hess to play entirely freely, without the pre-determined structure of a written outline, and their understanding of the other’s technique is evident as they spontaneously develop a tune by listening to the other and then elaborating upon it. (Bill Donaldson Jazz Improv 06)" "" "Another is "3458," a memorable theme over shifting meters with some wonderful playing by Hess (a real find)~ Joshua Weiner, All About Jazz (US)2003 strong support from guitarist Rez Abassi, and pianist Nicolaj Hess, both serving as sympathetic collaborators here. Hence, Mommaas has aligned himself with good company. - Glenn Astarita, All Music Guide (US)2003" "Improvisational art at the higest level... B Rabinowitch Politiken" "With his totally masterful sense of rhythm he tracks the point where the music swings the most with the least effort. He also has the ability to let the music meet him and seize the possibilities that arise through that interaction -B Rabinowitch Politiken" "This music breathes remarkably free thanks to Nikolaj Hess exclusive harmonic sense" "The quartet's version of the music by Carl Nielsen is simply Danish music at its best -T Sjogren Pol"

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