Where the Spirits Eat

  • Kod: STUCD19012
  • On Stock
  • Producent: Stunt Records (DK)
  • Wykonawca: Tobias Wiklund
  • Nośnik: CD
  • Instrument lidera: trumpet
  • Cena: 56,99 zł
  • Poleć produkt

Modern Jazz / Indie Jazz
premiera polska:
Wydawnicto Audiofilskie

kontynent: Europa
kraj: Dania
opakowanie: digipackowe etui

multikulti.com - ocena * * * * 1/2:
Wyrazistość tematów i brzmieniowa konsekwencja sprawiają, że specyficzna muzyczna atmosfera, będąca wypadkową najlepszej jazzowej tradycji i nowego, bardzo otwartego podejścia do struktury kompozycji, oplata słuchacza niczym gęsta mgła. A wszystko to w klasycznym akustycznym jazzowym kwartecie.
Na Tobiasa Wiklunda zwróciłem już uwagę przy okazji omawiania płyty "Padme" Markus Pesonen Hendectet (Barefoot Records 2014). Jednak teraz za sprawą wydanej na kompakcie i winylu właśnie płyty prezentuje się, jako pełnokrwisty lider.

Rozpoczyna się od tytułowego "Where The Spirits Eat". Fredriksson dźwięcznie szczotkuje, Wiklund gra ciepłym, czystym brzmieniem trąbki, Toldam pojawia się z tematem, który łudząco przypomina główny motyw z FARGO braci Coen, autorstwa Cartera Burwella. Morck smyczkiem na kontrabasie wpuszcza trochę mroku. Jednak Simon Toldam nie byłby sobą, gdyby w prosty sposób podążał za tematem, jego figlarne, pozytywkowe zagrywki sprawiają, że obcujemy z wyjątkową formą. Muzyka zapada głęboko w pamięć. Chciałbym, aby nie kończyli.
Dalej z dwoma wyjątkami wyłącznie kompozycje lidera. Te dwa wyjątki to "Song Of The Vipers" i "Weather Bird", które wyszły spod ręki Luisa Armstronga. Wiklund to znakomicie obeznany z materią kompozycji jazzowej muzyk, potrafi odnaleźć w każdym z tych standardów coś nowego, nie łamiąc ani na chwilkę płynności frazy czy struktury samego utworu. Co ważne nie jest to anachroniczny hołd dla starego mistrza, ale ożywienie jego muzyki intensywnym, osobnym tonem.

Z lekkością, bez cienia napięcia kwartet znakomitych improwizatorów częstuje nas soczystym, nieoczywistym jazzem. W żadnym momencie muzycy nie chcą udowadniać swojej wielkości, nie muszą.
Takie płyty jak "Where The Spirits Eat" pokazują, że istnieje świat poza amerykańskimi tradycjonalistami w typie Wyntona Marsalisa. W przeciwieństwie do swoich utytułowanych kolegów z USA nie zajmuje się kopiowaniem, czy polerowaniem, jego brzmienie jest po stokroć współczesne, dzieje się tu i teraz. Podobnie pozostali muzycy, ta swoboda, zaufanie własnemu artystycznemu kompasowi, swoista samobieżność każdego z nich to wielki atut nagrania. Dzięki temu mamy do czynienia z albumem o wyjątkowej sile wyrazu, popartej doskonałym wręcz zgraniem instrumentalistów.
autor: Mariusz Zawiślak
Copyright © 1996-2019 Multikulti Project. All rights reserved

Editor's info:
Once, it was easy to categorize Jazz. Musicians chose or were assigned to a single sub-genre and from then on were simply known as “that” kind of musician (bebop, swing, traditional, etc). Times have changed, and the young Swedish trumpeter and cornetist Tobias Wiklund is a perfect example of a new breed of musician who are neither easy to classify nor difficult to identify. His strong appreciation for a wide range of musical genres can be traced back to childhood. Wiklund was born in Sweden in 1986 and grew up in Gävle – a city with a strong musical identity. He was interested in Jazz and other non-classical genres early on but it was upon receiving a Louis Armstrong album from his father that he first fell in love with the trumpet. He’s said that it’s wasn’t so much what Armstrong was playing that made him gravitate toward the brass instrument, but the energy in the playing. And it’s that energy that Wiklund has continued to work with throughout his career.

After studying music in Sweden, a 20-year-old Tobias moved to Copenhagen to continue his education at the Rhythmic Conservatory and quickly became a permanent part of the city’s Jazz community. He’s an indemand musician and best known as a trumpet player in both Sweden and Denmark, often found subbing in the trumpet sections of the DR Big Band and Stockholm Jazz Orchestra. However, when he plays in smaller groups (such as in Norwegian/Danish drummer Snorre Kirk’s deservingly celebrated quintet; in Kira Skov and Maria Faust’s projects; or, like here, with his own band) he always turns to his preferred instrument – the cornet. The cornet is darker and less angular in its sound than the trumpet, and much of Wiklund’s personal expression comes from this choice of horn. In the early days of Jazz, it was just as common as the trumpet, but in modern times, very few play it exclusively.

With a great love for many forms of music, Wiklund moves freely between modern artistic expression and a more traditional sound. Here, on his debut as a leader, he’s assembled a repertoire of 11 songs including nine originals covering intense minimalism, beautiful ballads, and outgoing, swinging jazz. Listeners will also find two songs popularized by Louis Armstrong, Song of the Vipers and Weather Bird, appearing here as a tribute to “the past.” Tobias has a unique ability to refer to and lean on a story, but he’s also a very personal musician whose voice is built on an expressive approach, great technique, and an incredibly beautiful sound on his instrument.

On this album, the energy and swing are what drive Wiklund and his fellow musicians – specifically, a free and open interpretation of “swing,” one that doesn’t depend on the rhythm section pushing forward in unison. The bass doesn’t always have to walk at a fixed tempo, the drums don’t have to play on but rather around the beat, and the piano doesn’t need to accompany in a traditional sense. Wiklund reminds listeners that energy in music doesn’t need to be overstated or exaggerated. Energy is just as often found between the lines and in the freedom of the band members to chase a spontaneous idea. This freedom is made possible by the profound personal and musical familiarity that’s obvious between Wiklund and the other players who share his ideas – Swedish drummer Daniel Fredriksson, and the two Danes, bassist Lasse Morck and pianist Simon Toldam, who are known for their contributions to advanced improvised music. Wiklund’s rounder and darker tone don’t stop him from intermittently bursting into dazzling cascades on his instrument. Those who associate Swedish jazz with melancholic folk music have taken a wrong turn if they think that’s all they can expect with Wiklund. He offers so much more and seems to want to embrace all of jazz, its entire history, and all of its facets of expression.

For many years (and arguably still today), a small, modern jazz quartet was typically represented by a lone tenor saxophonist in front of a rhythm section: the tenor sax has long occupied the throne of inspiration, where Louis Armstrong placed the trumpet many years before. Now, it’s become less rare to see a trumpeter (or cornetist) leading a jazz group. The trumpet’s story in jazz music has unfolded as a tale of greatness, decline, and revival in new forms. Enrico Rava, Till Brönner, Ambrose Akinmusire, Dave Douglas, Ben Lamar Gay, Kirk Knuffke, and Avishai Cohen are all musicians who have chosen a newer path, but there are others, too, and on this release, the world is introduced to a new one – Swedish Tobias Wiklund.

All About Jazz * * * *:
Who is the man behind the beard? This is the question one could be tempted to ask when seeing the cover of the young Swedish-born cornetist Tobias Wiklund's album, Where the Spirits Eat. The eyes of the horn-player are hidden, but if the saying goes that the eyes are the windows to the soul, there's no need to look any further. The music itself has plenty of soul.

Wiklund might be young, but his swinging feeling goes back to the cradle of jazz. He has a modern sound and has taken the lessons of Louis Armstrong to heart. How many modern horn-players play Armstrong-staples like "Song of the Vipers" and "Weather Bird Rag" these days? Wiklund does and with a personal touch that makes one realize that Armstrong is already modern. It's not an anachronistic homage to an old master, but an intense and honest discovery of a sparkling language that still speaks directly to a modern musical mind. Supported by bassist Lasse Morck, who slaps the bass and plays with the bow, the music dances joyfully down the street.

Another noticeable influence, far removed in time from Armstrong, is Rob Mazurek. Like Wiklund, he is a lyrical painter of sound who is not afraid to move into abstract territory but, while both share a rare affinity for the cornet, Wiklund is less avant-garde and does not move into electronic manipulations. The music on Where the Spirits Eat is purely acoustic and delicately conceived, using a classic line-up with piano, bass and drums in inventive ways. The instruments drift in and out, and the music is as spacious as it is swinging. It's especially a pleasure to hear the Danish pianist Simon Toldam, whose crystalline figures and sophisticated sense of abstract and straightforward swing dazzle on "Mycket Viktigt Meddelande" (Very Important Message).

Drummer Daniel Fredriksson plays with the light, airy elegance of a Vernell Fournier and knows when to turn the heat up and down. The protagonist is Wiklund whose reservoir of melodic ideas never runs dry as he shapes clear lines with his compact and mellow sound, tastefully employing occasional effects of mute and growl. He can play a ballad to the bone and dress a tune up with multiple patterns, adding new layers to his musical stories.

Those saying that the young generation of jazz players have forgotten the past should listen to Where the Spirits Eat. Wiklund drinks deep from the well of tradition, but he isn't a traditionalist. His sound is contemporary and happening right now.

Tobias Wiklund (Cornet)
Simon Toldam (Piano)
Lasse Morck (Bass)
Daniel Fredriksson (Drums)

1. Where The Spirits Eat 3:48
2. Dancing To The Drum Of No Conscience 7:11
3. Song Of The Vipers 2:23
4. Smoke 8:08
5. The Janitor 1:16
6. Mycket Viktig Meddelande 7:06
7. Saved By You 4:24
8. Beefroot Interlude 1:00
9. Beefroot 6:07
10. Weather Bird 2:11
11. Waking Up On Buffalo Hill 5:42
12. City In The Sky 6:45

wydano: 2019-04
nagrano: Recorded at The Village Studios in Copenhagen on December 12th & 13th, 2017.

more info: www.sundance.dk

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