Martin Dahanukar: Polaroyde

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An artist with exotically Indian and Swiss roots, trumpet player Martin Dahanukar has a knack for giving his music a dreamlike, poetic touch. If it was the contrast between agitation and absorbed introspection that conjured up an atmosphere all its own on his first album for SKIP, “Scent Of Jungle” (SKP 9105), and the mystical, virtually secretive moods that had something cinematic about them as they whisked listeners away to images of modern, big-city sounds on “Traumesrauschen” (SKP 9132), a German title that translates roughly to ‘the murmurs of dreams’, it’s above all nimbly crafted, playful snapshots that prevail within the aesthetic soundscape on his new release “Polaroyde” (SKP 9146). Echos of the great artistic idol Miles Davis mix and merge with verses of archetypal musical poetry. Recollections of the dawning of jazzrock heard on “Scent Of Jungle” and associations with works found on Davis’s soundtrack to the Louis Malle film “Elevator to the Gallows” that flashed on “Traumesrauschen” now contrast on “Polaroyde” with an emphasis placed more on audiophonic polaroids that allow the listener to instantly immerse themself in a figuratively pictorial world. Cast in the same lineup as on the last album, in the words of Martin Dahanukar the trumpet player’s quartet “lets portraits of special people arise or tells of intensely lived moments in life.” The earthy drive is provided by Willy Kotoun on percussion and Philipp Moll on double bass. In turn, Michael Haudenschild on keyboards lends lyrical range to the music while creating spaces abounding with mystery and unabating tenseness.

Accompanied by the creative verve in his quartet, Dahanukar successfully constructs sonic images with arcs of suspense that, like a kaleidoscope, are reminiscent of still lifes dating back to the days of Nouvelle Vague. “I don’t want to lose my voice in the maze,” is how Dahanukar puts it as he dives deeply into indigo-tinted jazz, blue notes with lyrical melodies so intertwined that the audience is carried away. The result: a trumpeter becomes a confidant bearing secret dispatches of sounds woven from silken and velvety fabrics. Dahanukar describes his compositions as “a music of imagery influenced by one-of-a-kind encounters between people or by unforgettable nighttime vibes, of polaroids that resound.”