Mariam Wallentin and Vestnorsk Jazzensemble – Spring Flood

Hubro

A few years ago, Swedish singer and composer Mariam Wallentin spent time in the city of Basel, taking pastoral notes as the Rhine flowed in the background. Its constant fluctuating momentum made its way into those notes.

Two weeks later, she found herself in Bergen with the West Norwegian Jazz Ensemble, and these fragments of written notes and melodic ideas became the foreground to the ensemble’s thoughtful and ever-evolving soundscapes. Consisting of nine members including nominal leader Kjetil Møster, the ensemble offers strings, horns, harp, bass and percussion to a dizzyingly varied effect.

The album opens up with an abstract melange of deconstructed sound and Mariam’s voice, which is a warm, sun-weary, velvety thing, delivers observations in a rhythm natural to her and appears to echo the fluctuating flow of the nearby waterway. The group, rather like Mariam’s voice, has a mind of its own and the way the two interact is pretty special. They develop an awkward rhythm, allowing the words to feel nestled as myriad sounds cavort in the rushes and banks.

It is great fun following the words, which it is easy to do and some of the phrases just buoy the heart a little bit; there is real charm here and clearly this is somebody who appreciates those day-to-day events that most people wouldn’t think to include. While this is going on, saxophones are slinging an arm around the shoulder or harps are gently offering some minor consolation; but often the group is somehow aping the observations, allowing the sounds to shape around the words.

Considering they had not played together before, Spring Flood is quite a feat. Whether the group is offering a slow and somnolent bass, sax and drums concoction as on “Red” or a lively shuffle, including what sounds like a jaws harp, as on “Love Is Fire”, they have just the right backing for the mood. Conversely, as the backdrop changes, so Mariam’s voice alters; sometimes upfront and slightly forthright or taking a backseat and allowing the group to shine.

Although nominally a jazz ensemble, “No How” is stripped back to percussive textures and voice, while the vibrant “Love Is Fire” finds Mariam roaring along to a harsher sound that verges very loosely on rock territory. What they do best though is allow the mood and the imagined flow of the river to dictate what is needed; and whether they are caught stuck in some doldrums along with the young fish and coots’ nests or tinkling in the central flow, the madcap repetition of “Spring Flood” ringing in our ears, it is all perfectly judged.

This is a delightful collection and one which offers more with every listen. Spring Flood is a perfect moment in time captured over forty-eight hours and you would imagine they then make their separate ways; but what a two days they were.

-Mr Olivetti-