Avalanche Kaito showcases the vocal talents of Kaito Winse, a latterday urban griot (West African singer and storyteller) who also plays the tama, mouth bow, flute, toutle and peul on Talitakum (GLITTERBEAT GBCD 154), aided by the French drummer Benjamin Chaval and the Belgian guitarist Nico Gitto. Chaval, with his background playing sort-of jazz and noise rock, succeeds in adding a contemporary sheen to the production, especially with his very modern approach to beats, injecting syncopation and energy. Kaito Winse is a real force of nature, though, and the instrumental framework can’t contain his passion. Although I’m unable to directly interpret the content of his songs and stories, there are plenty of clues in the symbol-laden cover art and its primordial themes such as nature, death, flames and growth. Vinyl version available. (02/04/2024)
Likeable acoustic music from Nils Økland Band on Gjenskinn (HUBRO HUBROCD2661). Leader Nils Økland is a skilled proponent of the Hardanger fiddle, a traditional Norwegian instrument, and his aim is to combine the folk music of his own country with classical and jazz elements. This particular group started in 2014, although Økland himself has been active for far longer, and in other groups such as 1982, Christian Walumrød Ensemble, and The New World Orchestra. The music is mostly steeped in melancholy and reflection, although the group livens up for a spot of stilted dance music on ‘Kairo’. I’d prefer them to tackle more rugged experiments like ‘Kraft’, which has a shade more elemental energy reminiscent of a wind-storm and isn’t afraid of dissonance; too often on this set, Nils Økland Band opt to play user-friendly harmonies and sweet tear-jerker melodies, and wind up as soft as toffee. On ‘Tilley Plump’, I could be wrong in detecting some influences from Irish folk. (02/04/2024)
Jazz from Berlin – the trio Brom play the compositions of Alexander Beierbach on A Night And 43 Seconds (TIGER MOON RECORDS TMR 014). Tenor saxman Beierbach has shown up previously here as a member of Tru Cargo Service, today joined by Jan Roder (bass) and Christian Marien (drums). They are proud of their “open” working method, and Beierbach’s scores are a mix of composed parts and improvised sections, allowing new interpretations and new pieces every time they perform. They compare themselves to visual artists in a workshop making a sculpture. There would seem to be many opportunities for liberated playing given such a framework, but these arrangements aren’t a huge advance on any given post-bop jazz record from the early 1960s onwards, and the Germans aren’t inclined to put too much spirit, fire, or emotion in their playing. (26/06/2024)