【Marius Neset - Birds】(2013) ★★★★

(English follows Japanese)

 

My Favorite Album (389)

 

By Takaaki Kondo, Tokyo Jazz Review

https://www.facebook.com/tokyo.jazz.review?ref=tn_tnmn

http://tokyo-jazz-review.jimdo.com/

 

Marius Neset1985Norway出身のTenor Sax奏者、Composer

 

え~、正直に言いますと、このアルバムをここで取り上げるつもりはありませんでした。何故かと云うとアルバム・ジャケットが気に入らなかったから。「何だこのセンスのないジョークは?これが面白いと思ってんのか?何かやらんと気がスマンのか?面白くもナンとも無いわ。欧州人のギャグのセンスは「激痛」だな。そこにいくとアメリカ人は流石だわ」ナンて思ってまして。それをネタに投稿しようと思っていた。

 

しかし、折角MaurisTokyo Jazz Reviewのメンバーなんだから、本人に意図を確認してみよう。「全然面白くないゾ、このギャグは」って教えてやろうと思い、本人にメールした。すぐに返事が返ってきた。

 

 

Dear Takaaki,

The jumping on the cover where me and the photographer's idea. I want to communicate the energy, wildness, power, and at the same time the coulors that are in the music, and generally the positive vibe that I think is on the album.

Best,

Marius

 

 

そうか。「ギャグ」じゃないんだ。深~い意味が込められてたのね。聞いてよかった。

 

さて、肝心の内容です。

 

正直に言って、最初はトリッキーな部分が好きになれなくて一度聴いて「お蔵入り」していた。でもMariusのコメントを読んで、もう一度じっくりと聴き直してみた。

 

全てにたっぷりと時間とエネルギーをかけて、綿密に、丁寧に、誠実に創られているのを感じます。兎に角「深い」です。

 

曲が深い。

アレンジが深い。

演奏が深い。

 

相変わらずトリキッーな曲は苦手なので飛ばした。しかし、BalladM2M4、壮大なM6M7の各曲の美しさに時を忘れて聴き惚れた。また、European Jazzの作品には珍しく、M9Straight AheadJazz。正統派としての実力も十分だ。

 

それぞれの曲で、Stravinsky, Charles Ives, Steve Reich, Wayne Shorter, Django BatesMichael Breckerの明らかな影響を感じた。でもこれは明らかにMarius Nesetのオリジナルだ。

 

素晴らしく雄大なラストの曲を聴き終えたときハッと我にかえり、『音楽の旅』から帰ってきた気がした。

 

確かに彼が云っている"Coulors""Positive Vibe"を感じた。

 

素晴らしい!

 

Highly recommended.

 

(Personnel)

Marius Neset: saxophones

Ivo Neame: piano

Jim Hart: vibes

Jasper Høiby: double bass

Anton Eger: drums

Ingrid Neset: flute, piccolo flute

Daniel Herskedal: tuba

Bjarke Mogensen: accordion

Tobias Wiklund: trumpet

Ronny Farsund: trumpet

Peter Jensen: trombone

Lasse Mauritzen: French horn

 

 

(Track Listing)

1. Birds (10:52)

2. Reprise (03:26)

3. Boxing (07:00)

4. Portuguese Windmill (07:49)

5. Spring Dance (02:29)

6. Fields of Clubs (05:23)

7. The Place of Welcome (04:36)

8. Introduction to Sacred Universe (01:45)

9. Sacred Universe (08:23)

10. Math of Mars (05:02)

11. Fanfare (05:55)

 

*All compositions are by Marius Neset

 

 

Marius Neset - Website

 

Offcial Website

http://mariusneset.com/

 

Facebook

https://www.facebook.com/search/more/?q=Marius%20Neset&sid=0.3061029934324324

 

Twitter

https://twitter.com/MariusNeset

 

 

Preview

https://soundcloud.com/editionrecords/sets/marius-neset-birds-tasters

 

Buy CD

http://www.amazon.co.jp/Birds-Marius-Neset/dp/B00BAB6FK2

 

EPK (Video & Audio)

 

EDITION: Marius Neset 'Birds' The New Album EPK video

https://www.youtube.com/watch?v=Ft8oesDmtMs&list=PLjgO3lySj5TweazIiHaEyJCWIkQA37jcq&index=3

 

EDITION: Marius Neset in the studio at the 'Birds' recording session

https://www.youtube.com/watch?v=7vVvoh62DKY&list=PLjgO3lySj5TweazIiHaEyJCWIkQA37jcq&index=4

 

EDITION: Marius Neset 01 Birds [taster]

https://www.youtube.com/watch?v=4AtAiMuwXvk&list=PLjgO3lySj5TweazIiHaEyJCWIkQA37jcq&index=1

 

EDITION: Marius Neset 03 Boxing [taster]

https://www.youtube.com/watch?v=YVg0BBhpYno&list=PLjgO3lySj5TweazIiHaEyJCWIkQA37jcq&index=2

 

 

Review

Norwegian saxophonist/composer Marius Neset's prowess as a powerful, inventive saxophonist is well noted, yet his trajectory as a composer has been equally fascinating to behold. His debut as leader, the impressive Suite for the Seven Mountains (Calibrated, 2008), demonstrated early compositional ambition with the use of violin, viola and cello. Neset's ongoing involvement in Jazz Kamikaze meant a follow-up solo recording would have to wait, but Jazz Kamikaze's oddly pop-centric, anthemic Supersonic Revolutions (Seven Seas Music, 2010) was also bolstered by violin, viola and cello, not to mention choir, perhaps pointing to ideas then fermenting in Neset's mind. Neset's intoxicating Golden Xplosion (Edition Records, 2011) marked a significant leap forward, with the Norwegian's striking compositions and exhilarating improvisations garnering universal, rave reviews. His next collaboration could not have provided starker contrast to Golden Xplosion. In tandem with tubaist Daniel Herskedal, Neck of the Woods (Edition Records, 2012) saw the saxophonist explore folk/choral-influenced music in duets of often ethereal beauty that further underlined the breadth of Neset's sonic palette. It maybe should not come as a total surprise therefore, that BirdsNeset's third recording as outright leadercombines folk melodies, driving jazz syncopation and rich orchestral layers drawn from trumpet, trombone, French horn, accordion, tuba and flute. It's a heady concoction that surprises at every turn and enthralls in its stirring ensemble passages and epic scope. "Birds" has the hypnotic pull of Ravel's Bolero and all, if not more, of the drama. Bjarke Mogensen's accordion dances merrily over Neset's compulsive riff, his melody cut intermittently with vertiginous tumbling lines, while Jim Hart's vibes add subtler textures. When drummer Anton Eger and double bassist Jasper Hoiby enter, propelled by Daniel Herskedal's bass-like tuba and riffing trumpets, the music lifts and soars. Neset jettisons the brass to pursue a morsel of an idea on tenorsupported by bass, drums, vibes and pianist Ivo Neamewrestling and sparring with it until form emerges that steers the quintet back to the former heady heights. And, when the musical fireball seems spent, Ingrid Neset's flute leads a classical coda that ends in a stirring ensemble exclamation. It's an extraordinary, thrilling start. Classical overtones color "Reprise," with Neset's elegiac soliloquy buoyed by the brass. The absence of the rhythm section until the end, when Eger joins a gradual crescendo, instills an abiding sense of calm in the arrangement. The quintet number "Boxing" begins with idiosyncratic interlocking rhythms, moves through free territory guided by Neset's punchy tenor, and arrives at a lyrical plateau where Hart's graceful solo demonstrates why he's one of the most in-demand vibraphonists in the UK. A charging conclusion rounds out another episodic journey. The balladic opening to "Portuguese Windmill" gives way to Neset's lively soprano and tight quintet interplay before Neame's delicate intervention, followed by Neset, restore the music to its peaceful beginning. Neset and sister Ingrid on flute dovetail on the celebratory "Spring Dance," which combines elegant composition, free-wheeling improvisation and hybrid classical/folkloric melodies over percolating percussion. Even on the more straight-ahead tune, the Pat Metheny-esque "Fields of Clubs" there's nothing predictable about the tune's contours, though Neset's ideas, melodic and knotty in turn, flow seamlessly into one another. Ethereal saxophone and a pretty vibraphone melody blend beautifully on "The Place of Welcome," with Høiby's probing intervention lending an earthy gravitas. There's a suite-like continuity to the final four numbers, which flow uninterruptedly for twenty minutes. Piano and soprano gently usher in "Sacred Universe," which gathers momentum through Hoiby and then Neame's charged improvisations. Neset takes over the reins with a barrelling solo, though the song's initial quiet introspection returns to lead into "Math of Mars," a choral and orchestrally-inspired section of haunting simplicity. Eger's drum tattoo provides the bridge to "Fanfare," a rousing large ensemble statement of undeniable energy and bravura that roars triumphantly. Neset has upped the ante; the quintet passages alone suggest that this is one of the most exciting small jazz ensembles today, but the fine individual performances are outshone by the strength of the writing. The variations in tempo, mood and contrasting dynamics makes for constantly absorbing and often surprising listening, but Neset's real art is to weave his myriad ideas into a seamless unfolding tapestry. Neset is above all else a modernist, and Birds, with its vibrancy and sweeping imagination, is as likely to resonate with fans of composers Igor Stravinsky and Frank Zappa as it is with admirers of saxophonists/composers Michael Brecker or Wayne Shorter. An early contender for record of the year. Highly recommended.

 

By IAN PATTERSON, All About Jazz

 

http://www.allaboutjazz.com/php/article.php?id=44172

 

 

After unanimous cheers for 2011's debut album, Golden XPlosion for which he was hailed as a startling new fusion of Jan Garbarek and the late Michael Brecker , the young Norwegian saxophonist Marius Neset has extended his talents. Birds, which features accordion, five brass and his teenage sister Ingrid on flutes, is the most fully composed of Neset's ventures so far: Norwegian folk music, classical wind-band methods and the leftfield ingenuity of his early mentor, Django Bates, influence the ensemble sound, and several of the longer pieces develop in short movements, each with their own motifs. The title track is typical, winding an accordion jig around a staccato one-note repeat, steadily thickening with the arrival of Jim Hart's vibes, Anton Eger's drums and a flute theme, then becoming a slithery free-tenor improv, an intricate post-bop theme, and finally a romantic meditation for flute, bass and tuba. Spring Dance is a duet for tenor sax and flute, with Ingrid Neset's glossy, rounded sound matched by her nimble alertness. Graceful, slow folk themes like The Place of Welcome and Sacred Universe showcase bassist Jasper Høiby and pianist Ivo Neame (creative UK trio Phronesis is the rhythm section), and the orchestral sweep of Math on Mars testifies to the leader's sophisticated handling of a larger group. Each new step by Neset seems to take him forward by a big distance.

 

John Fordham, The Guardian,

 

http://www.theguardian.com/music/2013/mar/21/marius-neset-review

 

 

(Other Revews)

 

http://www.thejazzmann.com/reviews/review/marius-neset-birds/

 

http://onlyjazzblog.com/2013/03/20/review-marius-neset-birds-released-march-2012/

 

http://www.musicomh.com/reviews/albums/marius-neset-birds

 

http://adrianspallant.wordpress.com/2013/03/23/birds-marius-neset-edn1040/