Martin Nodeland: Tributaries

Martin Nodeland is coming into his own with smooth compositions drawing on contemporaries as well as self-exploration on Tributaries. The Norwegian guitarist crafts a tightly woven sound that keeps the album together without succumbing to lethargy. Joined by Will Vinson on alto sax, pianist Martin Sandvik Gjerde, bassist Alexander Hoholm, Raymond Lavik on drums and tenor saxophonist Erlend Vangen Kongtorp, Nodeland makes collaboration look easy. The release features eight originals with some catchy melodies luring the listener in here and there.

With an ear for improvisations that do not get out of hand, the group is well-suited for making approachable music that still feels organic and flowing. From the onset, the pieces contain a sense of movement. There is a lively spirit to "Straight Out the Gate" which introduces the project. The players maintain an upbeat tempo that skillfully balances between foot-tapping and rushing forward. Then on the next track, there is a faint John Coltrane—think Ballads (Impulse, 1963)—quality gently revealed with the slower rhythms. Nodeland pulls this trick of upbeat and more relaxed tracks. And though it may be an obvious tactic to keep the listener engaged in the work, it still works.

"Celestial Bodies" shifts tone near the beginning with the piano accentuating this move. Later, Gjerde twirls about on the keys, bringing about a dynamic approach to music-making. Unlike some musicians, John Scofield for example, who stick to a certain sound but do not go about creating multiple moods, Nodeland breathes life and energy with more layered expressions. However, the guitarist does turn toward Scofield's aesthetic in the following track. Then "The Comet" shimmers by. It is another smooth song that lingers while also breezing by. The group's ability to gauge and engage with one another's musical lines exhibits a maturity that comes with ensembles that have been playing together for some time, or perhaps simply a natural cohesion through a shared love of musical expression. Such a feat positively signals Nodeland's blooming confidence, not only in his musical abilities but his leadership savoir faire.

His third release since his debut in 2019, Tributaries offers moments of laid-back contemplation as well as faster-paced joviality. There is a thoughtful variety of compositions that remain cognizant of the great whole. This is tricky. And, more so, Nodeland does not rely on overused gimmicks or over-stylized atmospheres to force an intimacy. The project seeks to establish his creative process, and it does while also having the side effect of making one eager to see what comes next.

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