Showing posts with label Morten Haxholm. Show all posts
Showing posts with label Morten Haxholm. Show all posts

Friday, April 20, 2018

Luboš Soukup Quartet - Země (ANIMAL MUSIC 2018)


Luboš Soukup Quartet’s  latest release, Země,  features guitar and vocals from Lionel Loueke

Luboš Soukup Quartet has released their third studio album, titled Země (The Earth). The jazz album features guest appearances from guitarist Lionel Loueke, who brings a slightly African touch. As with the band’s earlier releases, all music and arrangements are composed exclusively by the Czech saxophonist Luboš Soukup, and it is the first of the quartet’s offerings to feature vocal arrangements.


Compared to their previous release, Through the Mirror, which was recorded with an ensemble of 14 musicians, Země is more intimate and personal. The quartet’s  essence stays the same, but new musical interactions are presented. The instruments featured on the recording (saxophone, guitar, piano, double bass, and drums) are reminiscent of the quartet’s debut album Beyond the Borders, which featured a guest appearance from guitarist David Dorůžka. However, Soukup introduces a new instrument to this project, which has not previously been typical of his music, the voice. 

The saxophonist again joins forces with Danish drummer Morten Hæsum, one of the quartet’s founding members, and German pianist Christian Pabst, who featured on the quartet’s previous album. They are joined by Danish bassist Morten Haxholm, who has been with the band since 2016, and New York-based, Benin-raised guitarist, Lionel Loueke, who accompanies the band for six tracks, including providing vocals for some of them. Luboš Soukup, recipient of the Danish Music Talent Award 2017, first met  Lionel Loueke at a Summer jazz workshop for professional musicians in Vallekilde, Denmark, three years ago. At the beginning of 2017, Soukup invited Loueke to join his quartet for a European tour, during which the five musicians performed at Jazz Festival Brno, the Czech Republic, and in Copenhagen, Denmark, amongst others, and finished the tour in Danish studio, The Village Recordings, where they recorded the music for Země. 

Music that celebrates the Earth 

The CD begins with title track Země (The Earth), which was inspired by Loueke’s music. “I wrote this composition with Lionel in mind,” says Soukup,  “we live in interesting times and our planet faces many issues. My wish is that people strive to be more environmentally-friendly and sustainable, and that we are in closer contact with nature. I think future lifestyles will have to be simpler, which is a rather difficult task in today’s world with all the incredible possibilities we have.” This optimistic song is followed by rather darker ballad, Dark Shark.The track description from the CD insert reads: “A dark shark is floating around your head, waiting for your good thoughts to eat.” Continuing with the marine imagery, following track The Red Sea — inspired by the picture of Moses stretching out his hand over the sea and God parting the waters — is one of the most rhythmically complex pieces on the album.


Soukup borrows the word ‘Shikara’ from the Salman Rushdie classic, Midnight’s children, as the title for a short poem about small colorful boats on Indian lakes, and the dialogue between piano and clarinet is the leitmotif of calm and dreamlike composition, White Horse. The dreamy mood continues in the second part of Smoke, which is also one of the most technically sophisticated compositions. Soukup found inspiration for this tune in the eponymous movie directed by Paul Auster and Wayne Wang. An interesting music development can be also heard in C. The piece opens with the collective improvisation of piano, guitar, and soprano saxophone, and features a main theme of Latin-American vibes, finally graduating in an exposed guitar solo The only tune that bears any hallmarks of the classical jazz of the1960s is Falling star, which captures the impression of a falling star freezing on the horizon. The final track on the album is a positive arrangement of the Czech folk song Na Bílé Hoře (On the White Mountain) which, thanks to Lionel Loueke’s contribution, has a distinctly African feel.


Notes

Luboš Soukup Quartet first formed in 2012 in Copenhagen, Denmark. During this time, the band has changed its lineup several times. The remaining original members of the project are Czech saxophonist and clarinettist Luboš Soukup, who is also the founder, band leader, and exclusive composer of all the band’s music, and Danish drummer Morten Hæsum, who is renowned for his innovative, highly interactive way of playing. In the current line-up, the band also features German pianist Christian Pabst, who brings a fresh, lyrical style to Soukup’s compositions, and Danish bassist Morten Haxholm, who ensures that the music’s foundation is mature and solid.

Soukup studied at three European music schools, The Jazz Conservatory in Prague, Czechia, The Music Academy in Katowice, Poland, and The Music Conservatory in Copenhagen, Denmark. In 2011, he became the first scholar of the benefit project Chocomusic, which was founded by the O2 Foundation alongside Strings of Autumn, one of the biggest Czech music festivals, and which contributes to foreign studies. During his studies abroad, Soukup fell in love with Scandinavian musical tradition and settled in Denmark.

In addition to the Luboš Soukup Quartet, he also leads the internationally successful quartet Points, and its expanded versions — Points Septet and PointsRataj Quintet (a jazz quartet with live electronics). He is a member of the energetic Scandinavian band MAdHAs, the Czech-Polish quintet Inner Spaces, and the Czech big band, Concept Art Orchestra etc. In recent years, he has been very  involved with composing music for his own bands, as well as other people’s  projects, and he teaches Saxophone and Ensemble at the Music and Dance  Faculty of the Academy of Performing Arts (HAMU) in Prague.

The Benin-raised jazz guitarist Lionel Loueke makes a guest appearance on Země. Thanks to his originality, outstanding rhythm and well-honed technical skill, he has become one of the most sought after jazz musicians in the world today. He has previously featured in the work of Herbie Hancock, Terence Blanchard, Dave Holland, Chris Potter and many more.


1. Země (The Earth) 6:12
2. Dark Shark 6:05
3. The Red Sea 4:12
4. Shikara 6:51
5. White Horse 4:01
6. C 7:03
7. Falling Star 6:05
8. Smoke 7:06
9. Na Bílé hoře (On the White Mountain) 4:53

All compositions by Luboš Soukup, except track 9 (Czech folk song arranged by Luboš Soukup).

Christian Pabst – piano
Morten Haxholm – acoustic bass
Morten Hæsum – drums

&

Lionel Loueke – guitar and vocal



Friday, January 8, 2016

Haxholm / Schmidt (feat. Seamus Blake & John Escreet) - Moras (2015)


Morten Haxholm: bass
Rasmus Schmidt: drums
Seamus Blake: saxophone
John Escreet: piano

Prometheus
Brazen
Umber
Deepsea Explorer
Cognitive Dissonance
Miyagi
Subtle Drift
Happy Ever After Is So Once Upon A Time


Haxholm Schmidt is the bassist’s co-led group with drummer Rasmus Schmidt. For Moras (it’s both a wordplay of Morton and Rasmus, but also means messy or entangled in Danish. Haxholm stresses the delights of a mess – in a good pawn shop, for example – rather than suggesting the music is insufficiently thought through) the rhythm pair wanted to play with two players they admired and so booked a studio in Brooklyn and made sure saxophonist Seamus Blake and pianist John Escreet could be there.

Made in the old classic jazz style of a single session (in this case an intense five hours in the studio) the chief bonus is the fresh feel of the encounter. But clearly with musicians of this calibre, a quick in-and-out doesn’t have to mean the material or the results are simple.

Brazen has a fast and tricky theme but minimal chords so the improvisations need to be highly inventive – and Blake and Escreet make damned sure they are, with the latter’s solo in particular being a highlight, both for its developing drive and the support Haxholm and Schmidt bring to it. Blake’s marvellous, almost vocal tone is highlighted in the increasingly impassioned ballad Umber, and the Haxholm gets a few moments in the limelight in Cognitive Dissonance which is in fact far less dissonant than one might expect, and a particularly impressive, fleet-fingered solo on Miyagi.

If Morten Haxholm has a fault it is that, taking both albums together, he stays in the background quite a lot of the time, but that is probably the result of his clear enjoyment and value as a vital support player as well as his admiration for all his fellow musicians, and players like Lund, Blake and Escreet in particular. And generosity is never really a fault, is it?

Two strong and rewarding albums.


Domi

Morten Haxholm Quartet - Viridian (2015)


Morten Haxholm: bass
Lage Lund: guitar
William Larsson: piano
Morten Lund: drums

Eldritch
CNTDWN
Stella by Starlight
Frantic
Birthday Waltz
Umber
Gloria
Along Came Betty



Morton Haxholm is a Danish double bass player. One of these albums was recorded in Copenhagen and the other in Brooklyn; both were released on 29 May 2015.

For Haxholm it’s his third Quartet album, though each has had a different personnel. On Viridian he has guitarist Lage Lund, drummer Morten Lund and pianist William Larsson. It’s a beautifully balanced band so although Lage Lund is the obvious star name – Haxholm first heard him on a trip to New York back in 2012 and has having him in his band ever since – the other three are equally impressive.

Most of the material is the leader’s with two standards – Stella By Starlight and Along Came Betty – included because Haxholm loves Lage’s playing on well-known tunes, and a particularly tricky Larsson piece called Cntdwn (a highly-adapted arrangement of Coltrane’s Countdown).

The moods vary but the playing is uniformly impeccable. Haxholm said he wanted to give this music a more European feel, and that’s inevitable I suppose with all the players being Scandinavian, but also retain a New York inspiration which is important to him and was more obvious on his first two quartet discs. I think he’s achieved that, though in a blind listening test I might have identified it as an American unit.

Try Birthday Waltz for a satisfying and representative morsel of the whole. Read more.


Domi