The fresh face of pianist Sondre Moshagen belies his whip-like abilities on the piano and with this versatile Lightning Trio of bassist Kertu Aer and percussionist Steinar Heide Bø takes a run through some of his compositions for their first album. They met back in 2022 and were named Young Jazz Musicians of 2024 at Molde Jazz Festival and although ostensibly jazz, the pieces recorded here run through a real mix of styles from light impressionism to dramatic rhythmic workouts.
Starting off with a brief introduction to Sondre’s bright and playful tone, which shows his playing to be cheery and wilful, the trio gets down to business with “McQueen’s Disco” with its hopscotching piano play and hammering pointed high notes while the bass holds steady. Around the piano, drums roll and tumble and the agile bass follows doggedly. Momentum is fleeting and the pace is definitely lightning. The piano jives and jitters, but settles down to cocktail hour for a few seconds before tearing off again. The drum fills and rolls are sublime and the full expression of kit is used as it and the bass attempts to fill in any gaps left by the piano.
“Past” is more melancholy, but on the edge of atonal; an insistence that is highlighted by the rhythm section. There is something about the purity of the piano tone that hints at the past, but it is then twisted into fun shapes and the difference between the high and low registers is almost as if there were two players. Ketija Ringa Karahona‘s flute adds some pastoral light to the wistful moments before they canter into “Wandering Towards The Light”. There is a definite sense of the piano meandering in this one and towards the end it is vibrant and breakneck, and there is even a touch if honky-tonk just when you are least expecting it. There are sweet little pointillist moments that draw the ear and there are familiar motifs that seem to be reintroduced, revisited and twisted slightly so there is a faint echo. When the piano sits back from a romantic interlude, the bass isn’t afraid to take the baton and push on further with the drums sitting back, gently keeping time in preparation for the next surge. I had the feeling there was a particular sequence that he liked which he kept nagging at, trying to wring something new from it; but once the drums decide to push the issue, all is forgotten and a cascade of notes is unleashed across the frozen landscape.The flute returns on “Astraphobia” and its breathy subtlety launches flickers of recognition. It feels like the morning after with plenty of space, the meditative burr of bass warming the heart as the flute takes a final flight of fancy leaving the piano to circle, holding the page. The scuffed, fleeting dream of “Lagan” with additional Rhodes from producer Kit Downes sees the album out in a languid manner, but leaves the listener eager for more. As a first outing, Lightning is filled with drama and atmosphere, well captured by Kit, and holds plenty of promise for more to come.
-Mr Olivetti-
