Polish trumpeter Tomasz Stanko visited Fasching along with his scandinavian quintet inlcuding Alexi Tuomarila on piano, Jakob Bro on guitar, Anders Christensen on bass and Olavi Louhivuori on drums. Much of the “Dark Eyes” (ECM 2115) repertoire was played with Stanko’s more introspective mood shown in his latest recordings. Soaring trumpet from Stanko solidly supported by Christensen and Louhivuori with Tuomarila and Bro adding color.
It happens once in a while that top tier international jazz groups come to Fasching. The visit of the Dave Holland Quintet was one of those precious occassions. Veteran bassist Dave Holland, of Miles Davis fame (e.g. In A Silent Way & Bitches Brew), alongside Chris Potter on saxophone, Robin Eubanks on trombon, Steve Nelson on marimba and vibraphone, and Nate Smith on drums. This quintet, albeit with different drummers, has been playing for a very long time now and recorded over half a dozen disks as quintet and as many as the core of larger ensembles. Astonishing energy, incredible playing, telepatic communication. Clearly one of the most important musical events of this year in Stockholm. Watch the videos featured at the end of this post.
Assiduous visitor of Stockholm’s Jazzklubb Fasching, Bobo Stenson appeared with his trio of ECM fame this past September. The all-Swedish trio includes Bobo Stenson on piano, Anders Jormin on bass and Jon Faltt on drums, now reportedly with their second ECM recording on the making (before Faltt, Jon Christiensen and Paul Motian sat at the drum kit of the trio). Along with the recently deceased Esbjorn Svensson, Bobo Stenson is perhaps the best internationally known Swedish jazz pianist. Less well known at home, his trio has been acclaimed abroad for many years for their beatuiful ECM recordings. In its ample repertoire, the jazz tradition intermingles with Swedish folk music, Cuban and Argentinian music and classical composers from Henry Purcell to Alban Berg.
Young Swedish pianist Mathias Landaeus got a check and flowers as recipient of one the 2010 Jazz Stipends awarded this past 21st of September at Jazzklubb Faasching, Stockholm. After a simple ceremony, the concert followed with Landaeus at the grand piano alongside veteran bass player Palle Danielsson and raising star Jon Faltt on drums. Mostly orignals from Landaeus in an intimate session which also paid tribute to several of his musical heroes, such as Thelonius Monk, and the Scandinavian folk tradition. Faltt as usual having a great time playing his percussion trickery, as can be seen in the video clip. For additional photographs of the concert, visit the the photo gallery.
Swedish pianist Lars Jansson performed with his trio at Jazzklubb Fasching, Stockholm, on September 13, 2010. Along Jansson were Christian Spering on bass and Anders Kjelberg on drums. They played both standards -such as the lovely Bill Evans tune featured on the video clip below- and originals from both Jansson and Spering. Superb technique from Jansson who still finds lots to say with tunes from the standard repertoire. The Scandinavian touch that characterizes most pianists from these latitudes is always present, at times folksy and with a pensive touch. A selection of the photographs taken during the concert (with Canon EOS 7d and the new 70-200mm f/2.8 L II lens) are available from the Photo Galleries and also HERE.
Guitarrist Wolfgang Muthspiel performed at Jazzklubb Facshing, Stockholm, on April 22nd, 2010 accompanied by Larry Grenadier on bass. Muthspiel is a very versatile player with superb technique and feel. In the concert, he featured an electric guitar and a body-less nylon with abundance of effects, live dubbings and electronic percussion. Awesome playing by Muthspiel. Grenadier outstanding, as always. Video clip recorded on the Canon EOS 7D and EF 70-200mm f/2.8 L lens. A selection of photographs taken during the concert can be seen HERE.
A remarkable concert featuring Vijay Iyer Trio live at Fasching on April 13 2010 in full power. Here is Vijay in full concentration at the piano (pic taken with my EOS 7d and the 100-400 L, which I took by mistake thinking that it was the 70-200L 2.8!). In addition to Iyer on piano, the trio includes Stephan Crump on bass and Marcus Gilmore on drums. Their most recent album is “Historicity” (2009) on the ACT label. Several of the pieces of that album were featured at the Fasching concert. Vijay Iyer uses thick chords sweeping across the keyboard generating an orchestral backdrop onto which melodic lines navigate. Improvisation remains the central theme. From Vijay Iyer’s website: “his powerful, cutting-edge music is firmly grounded in groove and pulse, but also rhythmically intricate and highly interactive; fluidly improvisational, yet uncannily orchestrated; emotionally compelling, as well as innovative in texture, style, and musical form.”
Vijay Iyer holds a B.S. in Mathematics and Physics from Yale College, and a Masters in Physics and an interdisciplinary Ph.D. in Technology and the Arts from the University of California at Berkeley. He has done research in music cognition, and published an article on “Improvisation, Temporality and Embodied Experience” in the Journal of Consciousness Studies (Vol. 11, No. 3-4, March-April 2004). In the Abstract of that paper, he writes: “… music perception and cognition are embodied, situated activities. This means that they depend crucially on the physical constraints and enabling of our sensorimotor apparatus, and also on the ecological and sociocultural environment in which our music-listening and -producing capacities come into being. I have argued that rhythm perception and production involve a complex, whole-body experience, and that much musical structure incorporates an awareness of the embodied, situated role of the participant. In this paper I focus specifically on improvisational music, and on what it can tell us about consciousness and cognition. Building upon the notion of cognition as embodied action, I would like to propose an understanding of certain improvisational music as quintessentially experiential, in that it leads us to re-experience our own practice of perception.” Listen to Jason Crane’s interview with Vijay Iyer from The Jazz Session, in which he talks about “everything from mirror neurons to math jazz, Fibonacci numbers to the legacy of Roy Haynes”.
Photograph above (taken with the EOS7D and 24L II lens) features Vijay Iyer on stage after the concert alongside PhD student Carolyn Marks. Carolyn has an uncanny ability to persuade musicians to pose by her side. More photographs taken during the concert are available HERE or in the link under Photo galleries.
Guitarrist Jonathan Kreisberg played with his quartet at Jazzklubb Fasching, Stockholm, on March 18, 2010, along Will Vinson (saxophone, piano), Joe Martin (bass), and Mark Ferber (drums). The two sets included most material from Kreisberg’s latest album of originals “The South of Everywhere” (2007, Mel Bay Records) and pieces from his Criss Cross 2009 ballads album “Night Songs”. Kreisberg demonstrated very strong playing and virtuosity, feeling at home just about everywhere on the neck of his hollow Gibson guitar. A taster can be seen in this video -recorded on the Canon EOS 7D and EF 70-200mm f/2.8 L lens- also featuring fellow drumer Ferber raising to the occassion. Photographs taken during the concert can be accessed from the the link under the photo gallery on the left side bar.
Pianist and composer Myra Melford appeared with her Be Bread Trio at Jazzklubb Fasching, Stockholm on March 4, 2010. The Trio is a scaled-down version of Myra Melford’s Be Bread Ensemble whose most recent release “The Whole Tree Gone” appeared in the Firehouse label this past Janurary. Along with Myra Melford in piano and harmonium, the Trio fetaured Stomu Takeishi in bass and Brandon Ross in acoustic guitar. The Trio sounds definitely more intimate than the full ensemble with an even stornger improvisational compononent. Main highlights were the delicate tones from the harmonium, dramatic solos by Stomu Takeishi, and tempered guitar harmonise by Ross. Listen to Jason Crane’s interview with Myra Melford at the Jazz Session website. View the photo gallery of the Fasching concert.
In December 2008, the Swedish Radio showed up at the home of Swedish pianist Bobo Stenson to record an interview and a series of solo piano improvisations at Stenson’s private studio. In the absence of available solo recordings of the acclaimed pianist, this was a very special event. The interview covered several aspects of Stenson’s musical life. Inevitably, he was asked about Keith Jarrett, and the Swedish pianist took distance -without being overt critical- from his colleague’s use (or abuse?) of ostinato techniques. Featured here, from the over 70 minutes piano recording, is the beautiful “Alfonsina y El Mar” from Argentinian composer Ariel Ramirez -now a standard piece of the Stensonian repertoire.
On April 16, 2009, Bobo Stenson played at Jazzclub Fasching, Stockholm, alongside Christian Spering in bass, Lennart Ã–berg in tenor saxophone and Turkish percussionist Okay Temiz (a group otherwise known as Oriental Wind) in a tandem concert with the Karnataka College of Percussion (KCP) from Bangalore, India. The KCP has a long tradition of interaction with musicians from the European jazz scene and Oriental Wind in particular. For this concert, founders Ramamani (voice) and husband Mr. Mani in mridangam were seconded by their common son -Krthik- in ghattam. The concert included several of Temiz compositions for Oriental Wind alongside KCP as well as traditional KCP’s percussion and solo voice sections. In the theme featured here, Stenon’s intro leads to the group theme with Ramamani’s leading voice, followed by piano and percussion solos in an interesting Orient/Occident mix.
Featured photographs from the 2009 Fasching concert (Canon EOS 40D with 100mm 2.8 macro and 24-205mm L zoom). Additional photographs from this concert can be accessed from the link under the photo gallery on the right side bar.