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Friis Nielsen is one of the best kept secrets of the European improvisational scene, even though he collaborates regularly with high-profile performers like Peter Brötzmann, Louis Mohlo-Mohlo, Mats Gustafsson and, obviously, Anker. Friis Nielsen uses the electric bass as a rhythmic- percussive keyboard, mutating the strings with different objects, always suggesting elaborate rhythmic concepts that became the backbone of this set's improvisation.
Ligeti expanded this concept with massive, poly-rhythmic drumming while Anker suggested a different perspective, avoiding a similar muscular manner to magnify the energetic flights Friis Nielsen and Ligeti. She wisely offered much more introspection and nuance, which colored the intense interplay with softer shades. Her inventive ideas included sticking a water bottle to the alto sax bell. The trio's highly personal approach melded organically into an inspiring and powerful demonstration of free improvisation, a beautiful close to a successful festival.
I love jazz because it mixes intellect and emotion in a very spontaneous way.
I was first exposed to jazz by liberating a Coltrane and a Pharoah Sanders record from a friend in NYC and listening to them over and over until I got it.
My advice to new listeners is you have to take the time to listen to some jazz tunes a number of times until it starts to make sense.