Jazz

Bobo Stenson - Origo (2009)

2011-08-30T09:55:33Z

Bobo Stenson - Origo (2009)


01 Alea Iacta Est 	(09:22)
02 Clement 	(06:26)	
03 Brief Excursion 	(04:10)		play
04 Origo 	(09:05)
05 Giordaniesque 	(03:22)
06 Metamorphing 	(19:25)
07 Wee Farewell 	(05:18)

Personnel:
Andreas Andersson (Sax (Alto), Sax (Baritone)
Bobo Stenson (Piano)
Mattias Hjorth (Double-Bass)
Peter Nilsson (Drums)

This excellent trio's fourth release presents them at their best. The core group - Andreas Andersson on alto and baritone saxes, bassist Mattias Hjorth and Peter Nilsson on drums - always opts for patient, spontaneous improvisation that highlights slow development of form and structure upon fiery bursts of free playing. The collaboration with Stenson enriches both sides, and enables this ad-hoc quartet to delve into more elaborate pieces. Some tunes are much more minimalist—almost abstract, yet still intense. Stenson is much more adventurous than on his ECM releases, while retaining his elegant touch and sophisticated articulation. Origo is a multi-layered session that features the quartet's various facets. Spare and suggestive on Clement, Stenson delivers ballad-like lines, but Plunge Trio's sensitive interplay only touches them, opting for a more open texture. The title track is slow and minimalist, with careful, balanced and emphatic interplay based on intense listening. Metamorphing, at almost 20 minutes, moves through a wide and introspective—almost meditative—spectrum of textures and moods, with quiet intensity and delicate thematic elaboration. The closing Wee Farewell is another spare, contemplative piece that sums up this impressive musical meeting in a majestic manner. The patient interplay implies moods and themes in an imaginative game of nuanced and suggestive playing. This release is a wonderful example of contemporary Scandinavian jazz. Plunge Trio with Bobo Stenson extends the Nordic tradition of cool, personal expression, challenging conventional jazz with a unique and creative improvisational method. Origo asks for an attentive listening, but each listening finds new and captivating nuances that testify to its sheer beauty. ---Eyal Hareuveni, allaboutjazz.com

”Origo” documents the continued collaboration between Plunge and piano great Bobo Stenson, it is Plunge’s fourth album and their second together with Stenson. The rewarding collaboration between the trio and Stenson began in the fall of 2002, and has so far resulted in numerous tours of Sweden, several national and European radio broadcasts and a CD, “Plunge with Bobo Stenson”, which was released in 2005.

The music on “Origo” is improvised and based on intense listening, spontaneous composition and a far reaching sense of form, and it is clear how the quartet’s music has evolved over the years – the pieces are longer, more elaborate and more minimalistic. The new record features a wide spectrum of sounds, textures and moods – from intense and suggestive grooves to beautiful ballads and sparse and sensitive interplay, and is a good example of contemporary, Scandinavian jazz – music that’s an extension of the strong Nordic tradition of creative, personal and challenging jazz, a tradition that Bobo Stenson has been a big and important part of since the early 60’s. ---Kopasetic Productions

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Bobo Stenson Trio - Jazz in Svaben 2006

2011-03-11T09:42:30Z

Bobo Stenson Trio - Jazz in Svaben 2006


1. Intro by radio announcer 0:12
2. Seli (A.Jormin) 11:38
3. El Mayor (Rodriguez) 15:01
4. Music For A While (Purcell) 7:37
5. War Orphans (O.Coleman) 5:54
6. There Comes A Time (T.Williams) 11:10

Bobo Stenson (piano)
Anders Jormin (bass)
Jon Fält (drums)

Bruks-Stallet, Svabensverk
Svaben, Sweden
August 26, 2006
FM broadcast

Swedish pianist/composer Bobo Stenson made a name for himself in the late '60s as one of Europe's finest players, accompanying visiting luminaries like Gary Burton, Sonny Rollins, and Stan Getz. Underwear, his 1971 debut as a leader, began an ongoing collaboration with ECM Records and with drummer Jon Christensen. Christensen also joined Stenson on sessions with Jan Garbarek in the '70s and Charles Lloyd in the '80s and '90s, and played in Stenson's revamped trio along with Anders Jormin. The Swedish Grammy-winning Reflections (1993), War Orphans (1998), and Serenity (2000) make the most of Stenson's lyrical, versatile style and the players' long history of working together.

Christensen left the group after the Serenity tour. Stenson recorded a pair of albums for the Mirrors label with different ensembles, and self-titled duet album with saxophonist Lennart Aberg in 2002 for Amigo, before returning to his trio work for ECM with Goodbye in 2005. The latter set featured Paul Motian in the drummer's chair. Stenson and Palle Danielsson co-led a band on 2007's Miles by Five for Touche Records. In 2007, Jon Fält became the Stenson trio's permanent drummer, first appearing on 2008's Cantando. This was followed by Indicum in 2012. --- Heather Phares, Rovi

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Bobo Stenson, Arild Andersen, Jon Christensen – Underwear (1971)

2012-12-05T17:19:29Z

Bobo Stenson, Arild Andersen, Jon Christensen – Underwear (1971)


1 - Underwear 07:41.55
2 - Luberon   09:19.65
3 - Test      03:38.55
4 - Tant W    08:55.60
5 - Untitled  03:57.40
6 - Rudolf    06:12.40

Musicians:
Bobo Stenson - Piano
Arild Andersen - Bass, Cello, Guitar
Jon Christensen – Percussion

This LP from ECM's early days finds Swedish pianist Bobo Stenson leading bassist Arild Andersen and drummer Jon Christensen in a program of uncompromising, collectively improvised post-bop. Andersen is prominent in the mix and plays just tons, all of it totally relevant to the music. Christensen provides structure, drawing on his breathtaking talent to contribute a dazzling range of color, a deft, flawless pulse, and fresh rhythmic ideas for the pianist and bassist. Stenson stakes out a middle ground, communicating closely with his partners and underpinning the group with subtle cues and harmonic shifts. Stenson's title track, a great post-bop, piano-bass-drum performance, goes for broke, but with discipline and a shared sense of purpose. From delicate beginnings, the pianist's two ballads, "Luberon" and "Tant W.," build steadily in power and intensity. Ornette Coleman's "Untitled" gets a short, manic workout, reminiscent of pianist Keith Jarrett's involvement with Coleman's music. "Test" is a mesmerizing piano vamp, over which Andersen adds arco effects, as Stenson strums and plucks from inside the piano, and Christensen busies himself with miscellaneous percussion toys. The concluding track, "Rudolf," is an Andersen reworking of Miles Davis' "Mademoiselle Mabry." Although structured as a piano trio, this set's main attraction is the opportunity to hear, up close, the enormous talents of Christensen and Andersen. That, in turn, though, says something about the egalitarian spirit of Stenson. ---Jim Todd, Rovi

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