Norwegian guitarist Andreas Haddeland's second trio recording, Nyskudd, is an unpretentious affair. The group improvises inside a melodic landscape, creating something that might be called Nordic country sounds. The group dynamic embraces equality on input and a gorgeous interplay within balladic and atmospheric compositions.
Haddeland's guitar wouldn't sound out of place in an American country & western band, but the trio dynamic and the loosely structured, slow-to-unfold song forms and the Paul Motian-like drum interjections from Ulrik Ibsen Thorsrud, along with Lars Tormod Jenset's assertive bass workoften arcoclaims a modern jazz tag for the music.
Opening with the inward-looking title tune, the trio constructs zen mood of three-way input. A beautiful bass solo floats on a foundation of shimmering chords. A metronomic drum beat seeps in, then the gentle guitar sends out waves of engaging melody. "Revehi" drifts in a focused fashion, the three way communication sounding intimate and spontaneous.
The set was recorded Valenga Parish Hall in Oslo, the players in the same room, rubbing elbows. The sound is exquisite, every off-the cuff-subtlety coming through with claritythe arco bass opening to "Telemann Pa Taket," the resonant, surf music-like single guitar notes introducing "Fire, Ettnullatte," the guitar sustain underlain by the muted heartbeat of the drums on "Rosa Anorakk."
An engaging, no frills, guitar trio reverie.
Nyscudd; Revehi; Rosa Anorakk; Fire, Ettnullatte; Telemann Pa Taket.
Andreas Haddeland: guitar; Lars Tormod Jenset: double bass; Ulrik Ibsen Thorsrud: drums.
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