Samuel Blaser Quartet: Rosina

Samuel Blaser has established himself as one of Europe's most compelling trombonists, a Swiss musician whose artistic identity has been shaped as much by formal study as by the Italian folk traditions that surrounded him in childhood. In recent years, he has spoken openly about reconnecting with those roots, particularly the songs his grandmother sang, simple melodies carrying equal measures of tenderness and resilience. Rosina, named in her honor, reflects that personal journey while filtering those influences through a contemporary jazz sensibility.

"Boara" opens the session with the quartet settling into an easy, conversational rapport. Following an extended bass and piano introduction, Blaser enters with broad, lyrical phrases that suggest the folk melodies informing the project, occasionally colored by understated blues inflections. Russ Lossing's piano adds harmonic nuance while Billy Mintz' drumming introduces subtle rhythmic friction that keeps the music in quiet motion. Rather than building toward dramatic climaxes, the quartet allows the composition to unfold naturally, each player contributing to an evolving group dialogue.

"Adagio" turns inward without losing momentum. Employing multiphonics to expand his tonal palette, Blaser shapes the melody with warmth and restraint before easing into collective improvisation. The folk influence surfaces through melodic economy rather than direct quotation, allowing tradition to inform the music without defining it. Throughout the performance, Masa Kamaguchi anchors the ensemble with resonant bass lines that quietly guide its direction. Lossing responds with understated harmonic shading, creating a dialogue with Blaser that feels instinctive rather than calculated.

Energy rises on "Scherzo," where Mintz' crisp accents and shifting rhythmic patterns challenge the ensemble at every turn. Blaser answers with winding phrases that weave through the rhythmic framework while Lossing contributes sharp harmonic responses that function as equal voices instead of conventional accompaniment. "Serenata" closes with a different shade of lyricism. Blaser's muted trombone produces a burnished, almost vocal timbre as Mintz maintains a lively undercurrent and Lossing's ascending lines gently redirect the music without disturbing its reflective mood.

What makes Rosina particularly engaging is the absence of nostalgia. Blaser does not treat Italian folk traditions as museum pieces or sentimental recollections. Instead, they become part of the quartet's shared language, absorbed into music that values interaction over display and collective expression over individual virtuosity. The result is a recording that grows richer with repeated listening, balancing lyrical beauty, thoughtful improvisation and unwavering ensemble work.