When we leave

ノルウェーのトランペッター、マティアス・アイクの『Ravensburg』以来3年ぶりの新作。

表現力豊かな演奏は、ニューヨーク・タイムズ紙によると「清らかでありながら突き抜けるような音色」を放っており、才能豊かなサポート・プレイヤーや仲間たちと一緒に演奏することでその良さが際立っている。ヴァイオリニストのホーコン・アーゼは、同世代の優れた即興演奏家の一人であり、ジャズだけでなくフォークの深い背景を反映したラインでリーダーを影で支えている。ドラマーのHelge Andeas NorbakkenとTorstein Lofthusによる息の合った正確なインタープレイ、そしてバンドの中心部では、ピアニストのAndreas UlvoとベースのAudun Erlienが、フロントラインとリズムセクションの間でアイデアを交換し、独自の表現をしている。いくつかの曲では、Stian Carstensenのペダル・スチール・ギターの繊細なうねりが神秘的な雰囲気を醸し出している。When we leave』は、2020年8月にオスロのレインボウ・スタジオで録音。

【パーソネル】Mathias Eick(tp, key, voice) Hakon Aase(vln, perc) Andreas Ulvo(p) Audun Erlien(b)Torstein Lofthus(ds) Helge Andreas Norbakken(ds, perc) Stian Carstensen(pedal steel guitar)

When We Leave is trumpeter/composer Mathias Eicks fifth leader outing for ECM and his first since 2018s acclaimed Ravensburg. Recorded over two days in November 2020, his sidemen include violinist Hakon Aase, pianist Andreas Ulvo, bassist Auden Erlien, drummers Thorstein Lofthus and Helge Norbakken, and pedal steel guitarist Stian Carstensen. All but the steel player -- who has also worked with Eick before -- appeared on Ravensburg. The trumpeter composed all seven pieces here; they are each identified by a single-word title. Fans of Jaga Jazzist, Eicks other band, will need to adjust their expectations. These compositions reflect the trumpeters long-held preoccupation with the murky spaces between folk music and modern European jazz. Opener Loving offers a drifting, moody piano playing elegiac chords that introduce a lithe lyric line played by trumpet and violin. The two lead instruments circle one another and gradually, as the drummers begin to exchange phrases and time signatures as accents for the frontline players, engage major and minor modes before Aase delivers a sumptuous solo complemented by fills from Ulvo. Turning is introduced by plucked violin and bass before piano, violin, and trumpet cascade in a languid, vamp-like melody. Eicks lyricism offers staggered cadences for doubled brass and string harmonies. They add levels of depth and dimension that resist easy classification. The trumpeters solo, while brief, elevates the tunes entire dramatic premise. While Flying appears improvised initially, it opens to express a sparse, even skeletal piano melody that Carstensen and Eick hover over and dole out in single lines for the other players to improvise on. Arvo, obviously inspired by Estonian composer Arvo Part, commences with a wispy Gregorian chant feel as Eicks trumpet, wordless vocals, and Aases spectral violin exchange phrases, lines, and a mode. The drummers then enter one at a time, followed by Erlien and finally Carstensen, who adds sweeping chord voicings and canny pedal work to elevate the entire proceeding texturally and dynamically. It actually approaches the orchestral until the drummers snares engage in staggered, nearly martial breakbeat rhythms. Playing follows logically. Carstensen controls the tunes body as the two drummers speak in a somewhat urgent processional language. Eick and Aase converse along the economically notated lyric line. Closer Begging sounds like a benediction or an exit hymn. Its slow, atmospheric, and at once pastoral and regal. The delicacy in Eicks aching melody expressionistically weds the sacred and the natural worlds while the pianist walks out the changes as an affirmation, and both drummers employ brushes in painting the backdrop with whispering cymbals and snares. Carstensen and Aase speak directly to Eicks lyric solo, embellishing it with textured phrases and elongated octave notes. Eicks composing on When We Leave is muted yet rich, lovely, and sophisticated. He understands exactly how to write to this particular ensembles strengths, and draws them out individually to express, along with him, longing and vulnerability. ~ Thom Jurek

マシアス・エイクは、ノルウエイの音楽家。2008年にECMから初のリーダー作をリリースして、これがリーダー作品としては五枚目となる。前作から引き続きTp、Vln、P、Drms×2、Perc、Pedal Steel G.という編成。すべてマシアスのオリジナル。ドラマーが二人いるとは思えない澄み切った空間に、TpとVlnのユニゾンの、まるでジョン・ハッセルの音を思わせるメロディが響き、音の密度が音楽に速度を生み出し、それはテンポを刻むというより時間が収縮するように聴こえる。ビル・フリゼールのようなペダルスティールは、アンサブルに前景と後景を演出し隙間を埋めるのではなく、むしろ隙間を聞かせる。ヤン・ガルバレクの次世代の北欧のジャズ。
intoxicate (C)高見一樹