{"id":2195,"date":"2015-01-28T21:15:46","date_gmt":"2015-01-28T21:15:46","guid":{"rendered":"http:\/\/monicamazzitelli.net\/?p=2195"},"modified":"2020-07-20T17:34:13","modified_gmt":"2020-07-20T17:34:13","slug":"the-calm-and-mesmerizing-tranquility-of-the-helge-lien-trio-badgers-and-other-beings","status":"publish","type":"post","link":"https:\/\/monicamazzitelli.net\/se\/the-calm-and-mesmerizing-tranquility-of-the-helge-lien-trio-badgers-and-other-beings\/","title":{"rendered":"The calm and mesmerizing tranquility of the Helge Lien Trio: Badgers and Other Beings"},"content":{"rendered":"

\"\"<\/a>There is a special quality in Norwegian –and Icelandic− jazz that distinguishes it, even from its Nordic (Swedish, Danish and Finnish) "cousins": a deep, ancestral, almost mystical, even pantheistic, bond with Nature. As if each chord holds a vast, contemplative breath of a landscape, whether marine or mountainous – in Norway, the land and water are inseparable− or related to fauna or flora, or to the white blanket that paints the ground to a blank space for many months. That contemplation often becomes almost meditative introspection, which for some takes on a nuance connected to the divine<\/em> (I think of Tord Gustavsen, for example) and for other remains close to the broad but also beautifully minute sense of Nature and its secrets. I think this may be why Italians −who have lost their own Eden through overbuilding, overcrowding and urban alienation− have a special love for Norwegian music: in it they find their Lost Paradise.<\/p>\n

<\/p>\n

\n\tThe beautiful, refined album Badgers<\/em> and Other Beings<\/em> belongs to this world, caresses it with grace and originality, equilibrium, without becoming repetitive despite the recognizable style of the talented Helge Lien. The great pianist’s current trio lineup counts on the "usual" exceptional double bass player Frode Berg −one of the best in the Norwegian jazz scene− and drummer Per-Oddvar Johansen. Despite having a huge talent and great musical personality, Johansen does not impose himself on the pieces; on the contrary, he almost overshadows his experimental jazz musician talent and "limits" himself to providing beautiful articulations and underlining of the melodic and rhythmic scores of his companions. Helge is a very complete pianist, certainly on the path of the best northern European piano tradition, often with some classically tinged turns, but also close to Jarrett and Mehldau, with a similarly shy and introverted musical personality.<\/p>\n

\n\tMany of the tracks are inspired by nature even in the titles, thus finding their echo in that of the album, but a large variation of themes and music prevails. The first track, "Mor" (Mother), unfolds in an elegant and serene way, returning almost circularly on itself, while "Joe" has one of the best grooves and an "American" sound, albeit filtered by a Nordic sensibility that returns especially in the small reef that binds the piece together. The third is "The Viper" ("Hoggormen"), and it carries the sense of its sinuous danger all the way. We enter into the abyss with "Hvalen" (The Whale), rich in muffled sounds and glacial silences. Johanssen does a fantastic job with the drums and the sound of Berg’s bass arrives almost deadened, keyless except when emphasizing the piano, as if for a muted propagation.<\/p>\n

\n\tThe fifth track, "Folkmost," has something folkloric and popular in its pace, with the main theme suggesting almost a country dance, until it gets lost in Berg’s splendid performance. The next track −"Early Bird"− is perhaps the closest to more traditional jazz, and strongly meditative, while the dry and nocturnal "Knut" hosts one of Frode Berg’s best interpretations.
\n\t"Calypso in Five" is the only piece with a subtly Latin sound, evoking just occasionally the four chords of "Guantanamera", and it is one of the most memorable, partly because of the fantastic work of Johansen. He repeats himself beautifully for a different content in the next piece, "The New Black": disquietingly black, highlighted by rolling martial drums, and the gloom of Lien’s poignant pianism; this is probably the piece that is closest to Esbjörn Svensson and his trio. The conclusion is "Badger's Lullaby", which is a gentle farewell from the very special, sophisticated but emotionally rich world that Helge Lien created with delicate strength for the German label Ozella<\/a>, which is really successful at tracking down hidden talent in every corner of Europe: to be followed in its every step.<\/p>\n

“Badgers and Other Beings”, Ozella Records, 2014<\/p>\n

    \n
  1. Mor<\/li>\n
  2. Joe<\/li>\n
  3. Hoggormen<\/li>\n
  4. Hvalen<\/li>\n
  5. Folkmost<\/li>\n
  6. Early Bird<\/li>\n
  7. Knut<\/li>\n
  8. Calypso in Five<\/li>\n
  9. The New Black<\/li>\n
  10. Badger's Lullaby<\/li>\n<\/ol>\n

    Helge Lien: piano
    \n\tFrode Berg: double bass
    \n\tPer Oddvar Johansen: drums<\/p>\n

     <\/p>\n

    Translation editor: Ellen McRae<\/em><\/p>\n

     <\/p>\n","protected":false},"excerpt":{"rendered":"

    There is a special quality in Norwegian –and Icelandic− jazz that distinguishes it, even from its Nordic (Swedish, Danish and Finnish) "cousins": a deep, ancestral, almost mystical, even pantheistic, bond with Nature. As if each chord holds a vast, contemplative … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60,17],"tags":[],"class_list":["post-2195","post","type-post","status-publish","format-standard","hentry","category-artiklar-och-kronikor","category-pa-engelska"],"_links":{"self":[{"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/posts\/2195","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/comments?post=2195"}],"version-history":[{"count":1,"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/posts\/2195\/revisions"}],"predecessor-version":[{"id":4151,"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/posts\/2195\/revisions\/4151"}],"wp:attachment":[{"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/media?parent=2195"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/categories?post=2195"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/monicamazzitelli.net\/se\/wp-json\/wp\/v2\/tags?post=2195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}