“Nature Hath Painted the Body” (Jonas Cambien Trio)

NORWEGIAN

JAN GRANLIE FOR SALT PENAUTS*

“Hele setningen er «Nature hath painted the body of the fish with whitish, blackish, brownish spots». Og det de har fått ut av den setningen og ned på denne CDinnspillingen er, nesten, mer enn man kan forvente og forlange. For dette er gjennomgående ytterst kreativ og fin musikk som de tre musikerne kan slå seg litt på brystet av. For dette var «råtøft»!”

TOR HAMMERØ FOR NETTAVISEN

“Flott, sterk og unik stemme! […] Måten trioen benytter de dynamiske virkemidlene de har til sin disposisjon, gjør også denne tilstandsrapporten til et av de mest spennende kollektivene vi har, til et av årets virkelige høydepunkt så langt.”

ARILD R. ANDERSEN FOR JAZZ I NORGE

“Den er en liten stilreise gjennom moderne jazz, men først og fremst er den et struttende dokument fra tre av vår tids fremragende stemmer. Det er jo nettopp evnen til å plukke, skape og omforme som gjør denne trioens musikk interessant, og midt inne i det velartikulerte, reflekterte og varierte fins en formidlingsglede som smitter. For et album!”

ENGLISH

JOHN SHARPE FOR ALL ABOUT JAZZ

All the compositions originate with Cambien, but the arrangements are credited to the group, and that might explain the aplomb with which they seamlessly navigate the unexpected plot twists. Wildhagen proves a master of idiosyncratic timbres and out-of-whack-beats to counterpoint the dizzying unisons between Cambien and Roligheten. There’s often barely time to register one combination before they launch the next. Thriving on juxtaposition, the overall affect is disorientating and intoxicating in equal measure. While most of the shorter cuts (only two exceed five minutes) major on atmosphere and feel, there’s nonetheless space for individual expression integrated into the fabric.

EYAL HAREUVENI FOR FREE JAZZ BLOG

“Cambien composed all the pieces but his compositions are simple and suggestive baits for collective trio improvisations. The trio, in its turn, never repeats itself and searches for new modes of conversational, open and playful dynamics, improvisation strategies and moods. The trio plays – literally – as it deconstructs and reconstructs Ornette Coleman’s harmolodics motives on “1 000 000 Happy Locusts” and experiments with a repetitive, rhythmic theme on “Herrieschoppers”. Cambien and Roligheten soprano sax duet on “Hypnos” offers an abstraction of imaginary whirling dervishes dance and serves as an introduction for “Mantis”, where the Trio dives deeper into an irresistible, mysterious trance-like dance “The Origins of Tool Use” is an open improvisation with Cambien playing prepared piano and organ, and the following “Bushfire” employs a repetitive theme in search of an introspective interplay. “Freeze” alternates between the chamber, sparse segments that rely on extended techniques of all three musicians, and sudden and powerful outbursts. Roligheten adds Mediterranean veins into the stubborn ostinato of “Yoyo Helmut”. The last piece is a twisted but emotional ballad, articulated beautifully by Cambien on the piano and organ, and subverted cleverly by Roligheten’s exploration of extended breathing techniques and Wildhagen’s sparse, mechanical drumming.”

RUSSIAN

DUTCH