a r t i s t : Karl Seglem
t i t l e : Norskjazz.No
d a t e : 2009
l a b e l : Ozella
g e n r e : Jazz
r l s. d a t e : Aug/2009
t r a c k s : 07
b i t r a t e : VBRkbps
s i z e : 47,3 MB
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He's done everything from solo concerts on heavily processed
goat horns to free improvisation duets with fellow Norwegian,
percussionist Terje Isungset, but in a career spanning 20
years and including the more electronica-centric yet curiously
timeless Urbs (NORCD Music, 2008), saxophonist Karl Seglem has
never recorded an album with a conventional sax-piano-bass-
drums quartet. Until now. NORSKjazz.no may use a time-tested
format to deliver eight songs largely written by Seglem, but
it remains deeply rooted in a more austere Norwegian jazz
aesthetic. This is an album of mostly pensive, dark-hued
material that owes as much to traditional Norwegian folk music
for its lyrical inspiration as it does the jazz tradition.
Seglem recruits NORCD label mate Eple Trioùwhose The Widening
Sphere of Influence (2008) was one of last year's pleasant
surprisesùto round out his quartet. Eple Trioùpianist Andreas
Ulvo, bassist Sigurd Hole and drummer Jonas Howden Sj°vaagùis
a proven entity with pre-existing chemistry, a trio that knows
how to explore a surprisingly broad emotional spectrum with
the greatest subtlety. The ambience of NORSKjazz.no may be
more suited to nighttime, especially the appropriately titled
"Nattsong" (Night Song), but there are also moments of greater
intensity. Much as legendary Norwegian saxophonist Jan
Garbarek possesses the paradoxical ability to burn in the
gentlest of ways, so too does Seglem and his group.
The reference to Garbarek might be an obvious one for those
outside of Norway who are unfamiliar with its vibrant sceneù
and Seglem's position, as both a musician and head of NORCDù
but it's important not to overstate his influence. Garbarek
undeniably looms over this project, and Seglem certainly plays
with the same sense of economy and attention to tone, but it's
the country's traditional music that looms largest in the
melodies of the melancholy "┼ret Hallar," the stark and
backbeat-driven "Lull," and soft but lilting "Song for To."
Seglem's tone is less tart than Garbarek's, a warmer
alternative that brings a spare yet potent lyricism to his
solosùmost notably on "Lull," where the group relentlessly
builds to a powerful climax that's a high point of the album.
Ulvo, also heard as a member of trumpeter Mathias Eick's
quartet, is an equally attuned player who brings both nuance
and versatility to the set, while Hole possesses a deep-in-
the-gut tone not unlike Arild Andersen, and Sj°vaag works
hand-in-glove to be both a sensitive colorist and more direct
rhythmist. Together they turn Seglem's music and the one
coverùEstß Longe's brief but hauntingly beautiful
"Portugalsong"ùinto a 40-minute set where interplay is at a
deep level that largely eschews virtuosic display. Instead,
it's the kind of deep empathy that's felt almost on a
subconscious level, lending NORSKjazz.no an emotional
resonance that transcends any individual player's
contribution.
Seglem's goal may have been to record "an acoustic album with
a classic jazz quartet," but by remaining true to his roots
he's delivered an album of sparse elegance that doesn't lose
sight of the inherent exploratory nature of jazz.
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01-Portugalsong [03:56]
02-Nattsong [06:46]
03-Aret Hallar [07:40]
04-Song For to [05:54]
05-Stengde Dorer [06:25]
06-Lull [05:48]
07-Sein Song [05:07]
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41:36 min