Nicolas Leirtrø’s Action Now! – Entrance

Sauajazz

Baritone guitarist and bassist Nicolas Leirtrø first came to my attention via the post-prog musings of I Like To Sleep, one of many groups to which he puts his name and bass playing skills, but Entrance appears to be the first under his own name and for which he has written all the pieces. To make things even more exciting, he has enlisted the help of Mats Gustafson on flutes, sax and something called a spilapipa, Kit Downes on Hammond and piano and Veslemøy Narvesen on percussion to properly do justice to the eight lengthy tracks compiled here.

With great generosity, Nicolas tends to allow the foreground to be dominated by Mats and Kit, the opener “Entrance” showing the sax as a lonely heart accompanied by a bass line that is biding its time. The warm, bronzed tones of the sax are gently washed by cymbals that join with a shimmering organ; it is a slow awakening, introducing the players and delighting in the different approaches that Nicolas follows, with a looping bass riff to really start things off. The sax is measured and thoughtful, its mellow tone offset by bursts of wild high notes, close to screams. Kit’s organ accompanies, its gentle waver cooling things down.

The long form of the pieces allows them to move in waves from moments of rumination to lively conversations that find them taking over one another in their desire to make a point. Meanwhile, the supple drumming underpins it all, a presence felt as much as heard, keeping things on the most knotty of tracks. The organ tone is so sweet and welcoming at times, its groggy slow build revelling in the spaces developed. Jazz soul hints come from the swing of the rhythm section and when Mats starts on the flute, things take a turn for the pastoral; although there is a voice that erupts as if, whoever it is, the sheer drama has taken them by surprise.

It is a really human sound that they produce and an explosion of voices just adds to the joy. The flute is ragged and out of breath, as if being chased and is wildly skipping and scattering. The sax is more predatory, consuming the flute and turning the atmosphere; while the ascending organ and battering drums give an almost physical sense of being lifted.

“Shapes Of Noise For Double Bass” is exactly that, with Nicolas giving his instrument a good stretch, sawing, plucking and stroking it into submission, while “Action Now” is an opportunity for Veslemøy to kick off with a tangy, almost danceable rhythm that puts him in the hot seat for a few moments. Although the sax is often leading, the sound is so full and everyone has their own place you can follow the chosen instrument should you so wish or just allow the overall soundscape to wash over you.

Later on, a burst of piano lets fresh light in but the return to organ finds new sounds being wrestled from the keys, and on “Organ Cycle” the space and sound have an out-of-body lightness that is unlike anything preceding it. The flute adds to that feeling of ascension and you can definitely detect a spiritual flavour being added to the pot. Closer “End Dance” has some heavyweight drumming, but its bursts of energy are less structured, an exuberant jig that turns in tight circles, the scuffling percussion and high drifting bass contending with vocal eruptions.

It is a fine send off to an album that retains focus and power right to the end; the generosity of Nicolas finding exemplary turns from his fellow players and conjures up a flashing new landscape.

-Mr Olivetti-