Scandinavian Art Ensemble with Tomasz Stańko: The Copenhagen Session Vol. 1

Although trumpet legend Tomasz Stańko sadly left us in 2018, there are fortunately plenty of signs that his recorded legacy is still unfolding. In 2024 his sparkling release, September Night (ECM), documenting a live engagement from 2004, reminded us of the distinctive emotional vibrancy of this most sensitive of modern trumpeters. And now we have the first of a planned two-volume release, courtesy of a 2015 residency Stańko spent in Denmark with the Scandinavian Art Ensemble. Not only does this striking set of music reveal Stańko's imposing skills even at 73 years of age, but it illustrates his hallmark willingness to challenge himself by finding much younger musicians who could bring out new nuances of his playing.

Stańko's predilection for working with youthful talent was exhibited marvelously on his string of brilliant recordings from the early 2000s. Soul of Things (ECM, 2001), Suspended Night (ECM, 2003), and Lontano (ECM, 2005), as well as the aforementioned September Night, reveal the special chemistry Stańko created with pianist Marcin Wasilewski, bassist Slawomir Kurkiewicz and drummer Michal Miskiewicz, all of whom were at least thirty years younger than the leader. The up-and-coming generation of Polish and Scandinavian talent on display with the Scandinavian Art Ensemble possesses a similar alchemical power, heard to fine effect on the hard-hitting opener, "One O'clock Junk," a jubilant and bouncy number that sees Stańko sparring tenaciously in collective soloing with the band's two other trumpeters, Tomasz Dabrowski and Snorri Sigurðarson, both of whom are just as energized as Stańko. It is a joy to hear them tossing ideas back and forth with gusto. Vibraphonist Martin Fabricius and saxophonist Thomas Hass then take solo turns that are just as effective in their emotional power.

"Before the Rain" turns to more familiar Stańko terrain, with a dark poignancy that the trumpeter limns with patient grace over spartan accompaniment from Fabricius and pianist Artur Tuznik before the rest of the ensemble enters with a subtle groove. Then "Circles" gives vocalist Johanna Elina Sulkunen the spotlight, and her dusky delivery makes the perfect complement to Stańko's understated reserve, especially when her wordless vocals reverberate across the sound field. There is an enticing degree of space in the music, as the ensemble lets the music breathe; bassist Richard Andersson and drummer Radek Wosko deserve much of the credit, as their loose-limbed approach allows the music to unfold at an unhurried pace, leaving room for the horns to play off of each other during the back half of the track.

The last two cuts are just as terrific. "Dark Eyes of Martha Hirsch" is an up-tempo piece with Sulkunen's wordless vocals reminiscent of Norma Winstone's work with Kenny Wheeler; and Stańko's toneless growls to begin his solo are again indicative of his chance-taking spirit, although his lyrical form during the rest of it will surprise no one. And Hass' enticing solo feeds off the spark provided by Tuźnik's animated block chords. This track in particular showcases the group's ability to swing hard, an invigorating slice of modern jazz.

The session concludes with "The Bridge that Broke on a Blue Monday," as this time Sulkunen vocalizes alongside Fabricius, with the two tracing the expressive melody before retreating to give bassist Andersson his own duo conversation with Fabricius, eventually giving way to a lengthy trumpet statement before the ensemble leads the track out on a haunting finish. With a set as superb as The Copenhagen Session Vol. 1, we anticipate similarly delightful music to emerge on Vol. 2 of the session.

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