Into the Open

opis:
Rzadko się zdarza, żeby debiutancka płyta europejskiego muzyka zyskała taki poklask w ojczyźnie jazzu, w USA. Saksofonistka i flecistka Sarah Elgeti zaprosiła do nagrania swojej płyty saksofonistkę Marianne Markann-Eriksen, gitarzystę/perkusistę Christiana Bluhme Hansena, pianistę Bena Besiakova i gościnnie Mikkela Uhrenholdta i Magnusa Paulsena na altowych saksofonach.

multikulti.com, 2013-08
"Sarah Elgeti, duńska saksofonistka i flecista, mimo młodego wieku zapracowała już na niemałe uznanie w swojej ojczyźnie. Słuchając jej ostatniej płyty - " Into the Open" - trudno się temu dziwić. Rzetelnie, sprawnie i z polotem zagrany, świetne aranżacje i niebanalne kompozycje artystki znalazły uznanie nie tylko w Dani, ale także w USA, Niemczech i innych skandynawskich krajach.

To płyta z gatunku tych, które świetnie pasowałaby do profilu niemieckiej wytwórni ACT, ale wszak nie można wydawać wszystkiego. A i realizacja, staranna niezwykle - jak zawsze u Duńczyków - sprawia, że słucha się jej świetnie. Pod względem kompozycyjnym wypada również znakomicie - trzeba jej oddać, że potrafi pisać znakomite, odwołujące się delikatnie do jazzowych standardów tematy.

Gdy zerknie się na jej stronę internetową można zobaczyć, że artystka sporo koncertuje. Trzeba wierzyć, że zahaczy i o nasz kraj. I choć obecny skład kwintetu różni się od tego obecnego na płycie, to wydaje mi się, że niekoniecznie musi on być słabszy. Pewnie - skoro Bena Biesiakova zastąpił Soren Bebe - muzyka jest pewnie bardziej melancholijnie skandynawska, ale czy przez to słabsza i mniej ciekawa?"


Jazz Times
(...) An emerging presence in her native Denmark, saxophonist, flutist and composer Sarah Elgeti makes her Stateside splash with this 12-track set. A fluid improviser with bold tone, wide-ranging tastes and a penchant for melody, she also demonstrates a knack for writing harmonies for her frontline partner, alto and baritone saxophonist Marianne Markmann-Eriksen. The evocative “Ringe I Vand” showcases her impressive flute chops alongside Markmann-Eriksen’s bari, while “Blustering Waves” shows her capacity to burn with her Danish crew in uptempo hard-bop mode. Elgeti exudes rare feeling on tenor on the melancholy ballad “But I Wish I Could,” then embraces free jazz on the edgy “Night Moves.” She further distinguishes herself on the rubato “Home,” mellow “Bossa Among the Trees,” lyrical “Out in the Fields,” funky “Downstairs” and smoky, Dexter Gordon-ish ballad “Angelique.” (...)
By Bill Milkowski

allaboutjazz.com
(...) Presenting a variety of styles from bop, bossa and funky blues to straight-ahead and avant-garde, Into the Open is a sparkling debut from the Sarah Elgeti Quintet, a group of unheralded Danish musicians led by the newest saxophone voice to emerge from Denmark's proud jazz scene and culture. Virtually unknown in the United States, with this gem of a recording, Elgeti is poised to take her music into the open embrace of American audiences (...)
By Edward Blanco

Jazz Weekly
(...) I must really be a sexist, first glance at this disc by Sarah Elgeti that had a picture of her face, and I’m thinking, “another vocalist.”
WRONG! She plays tenor, soprano and flute, writes all of the stuff here, and leads a pretty flexible ensemble with Marianne Markmann-Eriksen/sax, Christian Bluhme Hansen/g, Jens Andersen/b, Thomas Praestegaard/dr and Ben Besiakov/key. Most of the tunes are post-bop material that range from the bluesy “Out In The Fields” to the funky “Downstairs.” Her tenor on “Bossa Among The Trees” is quite impressive as it veers around Hansen’s guitar, while her flute on “Ringe I Vand” and alto on “But I Wish I Could” are impressive in their respective tones. A couple of the songs go a bit askance, as in “Home” and the Monkish “Blustering Waves,” but the quintet always makes it back on track. Mature material, and nice thoughtful music (...)
By George W. Harris

jazztimes.com
(...) The first track, "Home," is a sensuous ballad that Elgeti delineates on tenor with a full-bodied tone and relaxed expressiveness for its brief but memorable two-and-a-half minutes, which leaves you wanting to hear more. "Bossa Among the Trees" follows with the full quintet on board. Elgeti's tenor and Marianne Markmann-Eriksen's alto blend succulently on this appealing melody, with subtle interjections by guitarist Christian Bluhme Hansen, especially during the leader's soulful, undulating solo. Improvisations by Hansen and bassist Jens Kristian Andersen make an impression despite their brevity, and Thomas Praestegaard's drum work stands out as well. The lyricism of Elgeti's tenor and Eriksen's alto cast a spell on "Out in the Fields," as they interweave through the terrain of this beautiful composition. Elgeti utilizes the entire range of her tenor in a powerful statement, succeeded in contrast by Hansen's graceful acoustic guitar solo. The two horns' reprise, and Elgeti's succinctly perfect coda, conclude this superior performance.

Hansen's guitar and the Fender Rhodes of guest Ben Besiakov, plus a three horn front line with the added alto of Mikkel Uhrenholdt, develop a funky opening for the riffing, swaying "Downstairs." Elgeti offers up a soulful, down-to-earth solo, and Besiakov a sprightly one. "Ringe I Vand" (Let It Rain) has a catchy theme that is played by Elgeti's flute and Eriksen's alto. Elgeti's luminescent flute solo is the highlight, backed in this altogether clever arrangement by Eriksen's deep-toned baritone sax. Hansen's guitar improv is concise but noteworthy. With Hansen's acoustic guitar and Andersen's arco bass, Elgeti's penetrating soprano plays the dirge-like "But I Wish I Could" with great emotional depth, and in part alone with Eriksen's baritone to only add to the pathos being conveyed. Elgeti switches to tenor for the moving conclusion.

Elgeti and Eriksen interact both smoothly and dissonantly on "Trying to Forget," in a surprisingly effective juxtaposition of moods. The arrangement of "Blustering Waves" creates a sound much like that of The World Saxophone Quartet at the height of its power, thanks to the participation of altoists Uhrenholdt and Magnus Poulsen. After Besiakov's enticing piano solo, Uhrenholdt and Eriksen engage in flowing trades with drummer Praestegaard. "Clouds" finds Elegeti's flute and Eriksen's alto once again merging in winning fashion after a probing introduction by Andersen. Praestegaard's drumming, as it is for the duration of this recording, is an integral part of the theme's exposition. Eriiksen's supple, warmhearted solo does much to sustain the light and airy aura.

"Angelique" is an absorbing Elgeti ballad written for her mother, which the composer caresses on tenor with a throaty tone. Besiakov's piano solo is spacy, deliberate, and generally in a Bill Evans frame of mind. Elgeti's solo is both thoughtful and touching. Elgeti and Eriksen begin "Night Moves" with avant-garde dissonance, and soon thereafter embark on a contrapuntal give-and-take that utilizes well-controlled multiphonics. The theme itself could be characterized as modern mainstream funk. The CD lastly presents a bonus track remix of "Bossa Among the Trees," which gives the original version a different, more fusion-like slant thanks to an electronically created rhythmic pulse. (...)
By Scott Albin

blogcritics.org
(...) The first impression you get listening to the debut album of jazz saxophone/flutist Sarah Elgeti's quintet, Into the Open, is the variety of styles and influences. For some this may be the sign of a young artist who has not yet found her voice, for others, an indication of her impressive versatility. Count me among the later. Indeed, if further evidence of her versatility is needed, it turns out that Elgeti has also studied and performs classical clarinet and flute.

Living in Denmark, home to a thriving jazz scene, Elgeti fronts a quintet with her tenor and soprano sax and her flute. She is joined by the alto and baritone sax of Marianne Markmann-Ericksen. The rhythm section includes guitarist Christian Bluhme Hansen, bassist Jens Kristian Anderson, and drummer Thomas Prastegaard. This is a tight comfortable unit that knows how to work together. Moreover, like their leader, they are equally adept voicing a variety of styles. Guests on some of the tracks include saxophonists Mikkel Uhrenholdt and Magnus Poulsen. Ben Besiakov plays piano, and Rhodes on three tracks.

The 12 tracks on Into the Open are all original Elgeti compositions, there are 11 different songs and a remix of one. The album opener "Home" spotlights the leader on tenor, the richness of her tone emphasized by the subdued contributions of the rest of the group. "Bossa Among the Trees," the song that is remixed as the last track, follows with an original take on the Brazilian dance, some fine guitar work from Hansen, and another intense solo from Elgeti. The remix uses "an electronic table like rhythm sample" which perhaps unfortunately seems to take over the song.

"Out in the Fields" and "Angelique," a song written for Elgeti's mother, are opportunities for the two saxophonists to show their lyrical side. Both are elegant ballads played with emotional subtlety. Besiakov adds some nice touches on the piano and a tender solo of his own. "Downstairs" begins with a funky vibe and morphs into a sound reminiscent of the swinging big band era, a sound that comes back with a more modern take with the jumping "Blustering Waves." Both tracks are augmented by the guest performers. "Ringe I Vand," which Elgeti's publicity translates as "let it rain," shows what she can do with the flute, and has you wondering why she hasn't done some more. Luckily, it shows up again on "Clouds" joined at the hip with Markmann-Ericksen's alto.

Then, just to show that she has a harder edge, there are songs like the ominous throbbing "But I Wish I Could," "Trying to Forget" with its touches of dissonance, and the avant-garde sounds of "Night Moves." These last two especially have to make you wonder if you're hearing the same group. They make a convincing demonstration that it might have been a good idea to have called this debut CD, "The Many Sides of the Sarah Elgeti Quintet." This is after all an ensemble led by a musician with many strengths and it would be a mistake to hide any one of them under the proverbial bushel (...)
by Jack Goodstein