CD ECM Records Trygve Seim: Sangam
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Trygve Seim - saxofoane
Oyvind Braekke - trombon
Helge Sunde - trombon
Nils Jansen - saxofon bas, contrabas clarinet
Lars Andreas Haug - tuba
Tone Reichelt - french horn
Per Oddvar Johansen - tobe
Frode Haltli - acordeon
Arve Henriksen - trompeta
Morten Hannisdal - violoncel
“Sangam”, means “coming together”, in Sanskrit, sometimes taken to signify “the meeting point of three rivers”. Interpret that literally in Trygve Seim’s case and the different rivers might symbolize the cross-referencing of jazz, contemporary composition and diverse world folk traditions in his work. On the second ECM album issued under his name, the Norwegian saxophonist draws inspiration from musical and non-musical sources both local and far-flung, bringing these influences to bear on compositions and arrangements that are uniquely personal. Seim has been heard recently with The Source, the improvising group he co-leads with Øyvind Brække and Per Oddvar Johansen (both featured here), and has guested on Christian Wallumrød’s “Sofienberg Variations”, but “Sangam” is closer in spirit to “Different Rivers”, the ECM debut that overwhelmed international critics in 2001.
Prezentare generala CD ECM Records Trygve Seim: Sangam
2004
Trygve Seim - saxofoane
Oyvind Braekke - trombon
Helge Sunde - trombon
Nils Jansen - saxofon bas, contrabas clarinet
Lars Andreas Haug - tuba
Tone Reichelt - french horn
Per Oddvar Johansen - tobe
Frode Haltli - acordeon
Arve Henriksen - trompeta
Morten Hannisdal - violoncel
“Sangam”, means “coming together”, in Sanskrit, sometimes taken to signify “the meeting point of three rivers”. Interpret that literally in Trygve Seim’s case and the different rivers might symbolize the cross-referencing of jazz, contemporary composition and diverse world folk traditions in his work. On the second ECM album issued under his name, the Norwegian saxophonist draws inspiration from musical and non-musical sources both local and far-flung, bringing these influences to bear on compositions and arrangements that are uniquely personal. Seim has been heard recently with The Source, the improvising group he co-leads with Øyvind Brække and Per Oddvar Johansen (both featured here), and has guested on Christian Wallumrød’s “Sofienberg Variations”, but “Sangam” is closer in spirit to “Different Rivers”, the ECM debut that overwhelmed international critics in 2001.
* * *
Jazz Review, The Editor’s Choice
Fono Forum, Empfehlung des Monats
Stereoplay, Klangtipp
Classica-Répertoire, L’événement jazz du mois
Once again, the Norwegian sketches out minutely calibrated settings for horns and saxophones: every breath taken seems meticulously chosen. Seim is fascinated by the sound of air moving through instruments, himself using old and rare saxophones, and for the keyboard parts he chooses to use the accordion, another “breathing” device. Nine compositions have the feel of ritual and procession, but a rhythmic element survives in per Oddvar Johansen’s deft drumming, and the glowering low-register sounds from trombones, tuba and bass saxophone create a darkened yet curiously optimistic setting. Inevitably, Manfred Eicher’s production is so sensitive and impeccable that you can hear and almost taste every texture which Seim offers up.
Richard Cook, BBC Music Magazine
For a composer whose work produces such fundamental tones, and sounds so eerily familiar, the Norwegian saxophonist Trygve Seim often seems to be discovering the possibilities of sound-making instruments for the first time. Though Seim’s albums rely on a broad sound canvas now almost routine in European jazz-influenced contemporary music, his work since the millennium has been remarkable for its exploratory freshness. … Sangam continues the line of development Seim introduced with 2000’s Different Rivers and 2002’s free-jazzier The Source. An 11-piece jazz ensemble is joined to a classical string group here, with the soloists including the imaginative trumpeter Arve Henriksen, clarinettist Havard Lund and accordionist Frode Haltli. … Seim’s subtle and sumptuous overlaying of textures creates a sense of constant evolution none the less, from the lonely musings of the clarinet against arco bass at the opening, to the stately ascent of the band against Henriksen’s first trumpet appearances. …Eerily hymnal contemporary jazz from a unique ensemble long overdue for a trip here.
John Fordham, The Guardian
With Sangam, appears to move a little further from the group’s foundation in jazz, to encompass contemporary classical and folkloric concerns. … The centrepiece of the album is the four part “Himmelrand I Tidevand” where diverse textures and thematic variation rely on the sensitive musical interaction of each member of the ensemble, one with the other, the unusual part writing combining unusual combinations of instruments and the soloists respect the composer’s intentions. Sangam is an album of deep, often affecting moods, a potent Nordic brew that retains its brooding mystery however many times it is examined and probed.
Stuart Nicholson, Jazzwise
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