ARILD ANDERSEN/PAOLO
VINACCIA/TOMMY SMITH - Mira
ECM 372 8782
Arild Andersen (double bass, electronics); Paolo Vinaccia (drums); Tommy Smith (tenor saxophone, shakuhachi)
Recorded December 2-4, 2014
This is the long awaited follow up to the Live At Belleville set that was recorded in 2008, and the intervening years have seen the trio tour extensively and the close rapport and cohesiveness of the unit is immediately apparent in the music presented here.
Recorded at the famous Rainbow Studio in Oslo, the three musicians have brought together a programme consisting of ballads and mid tempo free-floating sound explorations. Having said that some of Andersen’s themes are strong enough to keep everyone firmly grounded and thus the emphasis remains on the collective as a whole. This trait is clearly in evidence on ‘Reparte’ with Andersen’s solo introduction that leads into a beautiful melody stated by Tommy Smith’s tenor and then joined by Vinaccia’s commentary from the drums in a genuinely compelling three way conversation.
Sounding much greater than the sum of its parts, the trio establish a degree of empathy that is quite astonishing. Tracks such as the opening ‘Bygone’ immediately set the scene for the more open and free flowing of the pieces to be followed by ‘Blussy’ which is driven along from behind the kit by Paolo Vinaccia’s tight rhythmic patterns in a tour de force for the saxophonist who ranges all over the horn complete with extended techniques and multi phonics.
As a contrast to the frenetic activity Smith’s tenor delivers ‘Le Saleya’ in a stately manner with his robust and lyrical sound shadowed by Andersen’s superb accompaniment and counter melodies. This approach is also mirrored on the title track with the saxophonist perhaps even more lyrical with his subtle yet highly effective use of the higher and lower registers of the tenor.
The trio have also integrated some new sounds within the tonal palette available to them with Tommy heard on the shakuhachi (an ethnic flute) in two short pieces, one duet with drums and one solo interlude, that break up the set nicely yet fit perfectly with what has come before and what is to follow. We also get the rare opportunity to hear Smith playing soprano saxophone on ‘Stevtone’ in a truly evocative and meditative finale to the album.
Of the nominal leader himself, Arild Andersen plays with an assurance and command of the material and the trio setting, switching seamlessly between rhythmic duties in partnership with the drums, or playing counter melodies with or subtly shadowing and supporting the saxophone line.
Mira is the work of a truly collective trio that is reaching an artistic peak, yet is also hinting at new directions that be pursued to continue their musical journey.
Reviewed by Nick Lea
ECM 372 8782
Arild Andersen (double bass, electronics); Paolo Vinaccia (drums); Tommy Smith (tenor saxophone, shakuhachi)
Recorded December 2-4, 2014
This is the long awaited follow up to the Live At Belleville set that was recorded in 2008, and the intervening years have seen the trio tour extensively and the close rapport and cohesiveness of the unit is immediately apparent in the music presented here.
Recorded at the famous Rainbow Studio in Oslo, the three musicians have brought together a programme consisting of ballads and mid tempo free-floating sound explorations. Having said that some of Andersen’s themes are strong enough to keep everyone firmly grounded and thus the emphasis remains on the collective as a whole. This trait is clearly in evidence on ‘Reparte’ with Andersen’s solo introduction that leads into a beautiful melody stated by Tommy Smith’s tenor and then joined by Vinaccia’s commentary from the drums in a genuinely compelling three way conversation.
Sounding much greater than the sum of its parts, the trio establish a degree of empathy that is quite astonishing. Tracks such as the opening ‘Bygone’ immediately set the scene for the more open and free flowing of the pieces to be followed by ‘Blussy’ which is driven along from behind the kit by Paolo Vinaccia’s tight rhythmic patterns in a tour de force for the saxophonist who ranges all over the horn complete with extended techniques and multi phonics.
As a contrast to the frenetic activity Smith’s tenor delivers ‘Le Saleya’ in a stately manner with his robust and lyrical sound shadowed by Andersen’s superb accompaniment and counter melodies. This approach is also mirrored on the title track with the saxophonist perhaps even more lyrical with his subtle yet highly effective use of the higher and lower registers of the tenor.
The trio have also integrated some new sounds within the tonal palette available to them with Tommy heard on the shakuhachi (an ethnic flute) in two short pieces, one duet with drums and one solo interlude, that break up the set nicely yet fit perfectly with what has come before and what is to follow. We also get the rare opportunity to hear Smith playing soprano saxophone on ‘Stevtone’ in a truly evocative and meditative finale to the album.
Of the nominal leader himself, Arild Andersen plays with an assurance and command of the material and the trio setting, switching seamlessly between rhythmic duties in partnership with the drums, or playing counter melodies with or subtly shadowing and supporting the saxophone line.
Mira is the work of a truly collective trio that is reaching an artistic peak, yet is also hinting at new directions that be pursued to continue their musical journey.
Reviewed by Nick Lea
Review of Whispering of the Stars
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Review of Symbiosis
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