In the Shadow of a Cloud

John Ferngrove for Amazon.co.uk

,

5.0 out of 5 stars

Title: Beautiful clouds, beautiful shadows

3 November 2019. Format: MP3 Download

Yelena Eckemoff has been one of my most exciting jazz discoveries of the past few years. She is an example of of the more thoroughly compsosed jazz that can come with a classically trained background. Her music is ‘classical’, i.e. notated music that just happens to be played by jazz musicians, i.e. musicians that like to play just a little behind the beat to give a more informal feel than notation itself can reasonably convey. Her compositions are very detailed often featuring quite startling contrapuntal interactions between instrumental lines. Even the solos tend to be played over more rigorously worked out themes than the typical set of repeating chord changes that characterises most jazz improvisation.

The sound world of this particular album/line-up is quite close to that of the Kenny Wheeler of say Angel Song or Widow in the Window, but drawing from a broader palette of moods than Kenny’s rather morose, if beautiful, centre of gravity. This is not so surprising as Kenny was another example of a jazz musician for whom the craft of composition was as important, if not more so, than improvising chops. Also, Yelena’s own approach as a pianist is very remeniscent of John Taylor; relatively sparse but harmonically deep enough to act as a container for everything else that might be going on.

As with most of her albums the package includes Yelena’s rather accomplished artwork and brief prose poems to accompany each track often portraying scenes from her life when growing up as a little girl in rural Russia; something she manages to to make sound idyllic and magical. Despite this, the music sounds neither particularly Russian as we Westerners might stereotypically imagine it, or even American, her present homeland. In fact her music is both timeless and placeless and musicians from all over the world seem to be queing up for a chance to work with her. Some quite notable (as jazz musicians go).

On this album horn is covered by Chris Potter, a musician i was initially reluctant to engage with associating him as i did with Pat Metheny’s retreat into a more parochially White American idiom with his Unity Band (not really Potter’s fault). As a result of listening to this i’ve gone back to Potter’s recent ‘Circuits’ album with a more appreciative ear. Adam Rogers is a guitarist of the John Abercrombie school deepening further the association with Kenny Wheeler. All Yelena’s albums are beautifully recorded and present a wealth of sonic detail for the attentive ear.

view on web

Neri Pollastry for All About Jazz Italy

,

The rich creative vein continues for the Russian pianist and composer Yelena Eckemoff, of classical training but dedicated to jazz since her arrival in the USA, in 1991. This vein takes shape in a dense series of albums (the last one we dealt with is Leaving Everything Behind, of 2016) recorded with different bands and each time comprised by musicians of the highest level.

This time the group that makes this double CD is a quintet, with a rhythm section among the most successful of the States – Drew Gress and Gerald Cleaver, the guitar of Adam Rogers and the prestigious reeds of Chris Potter, one of the musicians today more on the crest of ‘ wave. The compositions prepared for the quintet by Eckemoff are perfect for highlighting the individuality of his collaborators: lyrical narratives, but with changes of times and with continuous openings that invite individuals – in particular Potter and Rogers – to solos that are necessary parts of the structures and can be seen as the stories in the stories.

We are in an interesting land on the border between European jazz (that of ECM or ACT, to be understood) and modern American jazz (in some tracks, such as “Fishing Village,” Potter reminds the late Michael Brecker), as happened for example in the music of Kenny Wheeler. And all the musicians seem to find themselves fully at ease: Potter magnificently interpreting his own role on every instrument (for example, listening to the excellent flute performance in “Waters of Tsna”), Rogers intervening with great lyricism on the electric guitar in a context purely acoustic, Gress giving a splendid and deep color with the changing but ever present pulsation of his double bass, Cleaver, without any particular solos, perfectly accompanying all the narrations.

Eckemoff, for her part, confirms being not only an excellent composer and excellent arranger of music, but also a pianist of the highest level, able to move on multiple levels, now lyric, now more abstract, now the protagonist, now supporting the first voices.

The two CDs are distinguished by being the first predominantly marked by the presence of tenor sax, the second instead dominated by the soprano, but both – as said – keep a common figure, made of immediacy, dynamism and narrativity, things that make In the Shadow of Cloud is a delightful and highly usable work.

Original Italian:

Continua la ricca vena creativa della pianista e compositrice russa Yelena Eckemoff, di formazione classica ma dedita al jazz dal suo arrivo negli U.S.A., nel 1991. Questa vena si concretizza in una fitta serie di album (l’ultimo di cui ci siamo occupati è Leaving Everything Behind, del 2016) registrati con formazioni sempre diverse e ogni volta composte da musicisti di altissimo livello.

Stavolta il gruppo che realizza questo doppio CD è un quintetto, con una ritmica tra le più affermate degli States—Drew Gress e Gerald Cleaver—la chitarra di Adam Rogers e le prestigiose ance di Chris Potter, uno dei musicisti oggi più sulla cresta dell’onda. Le composizioni approntate per la formazione dalla Eckemoff sono perfette per mettere in risalto le individualità dei suoi collaboratori: narrazioni liriche, ma con cambi di tempi e con continue aperture che invitano i singoli—in particolare Potter e Rogers—ad assoli che sono necessariamente, viste le strutture, dei racconti nei racconti.

Siamo in una interessantissima terra di confine tra jazz europeo (quello della ECM o della ACT, per intendersi) e jazz moderno statunitense (in alcuni brani, come “Fishing Village,” Potter ricorda un po’ l’ultimo Michael Brecker), come accadeva per esempio nella musica di Kenny Wheeler. E tutti i musicisti paiono trovarsi pienamente a proprio agio: Potter interpretando magnificamente il proprio ruolo su ogni strumento (si ascolti per esempio l’ottima prova al flauto in “Waters of Tsna”), Rogers intervenendo con grande lirismo alla chitarra elettrica in un contesto prettamente acustico, Gress donando uno splendido e profondo colore con la cangiante ma sempre presente pulsazione del suo contrabbasso, Cleaver, pur senza particolari assoli, accompagnando perfettamente tutte le narrazioni.

La Eckemoff, dal canto suo, si conferma non solo ottima compositrice ed eccellente organizzatrice della musica, ma anche pianista di altissimo livello, capace di muoversi su molteplici piani, ora lirica, ora più astratta, ora protagonista, ora a supporto delle prime voci.

I due CD si distinguono per essere il primo prevalentemente segnato dalla presenza del sax tenore, il secondo invece dominato dal soprano, ma—come detto-oconservano una cifra comune, fatta di immediatezza, dinamismo e narratività, cose che fanno di In the Shadow of a Cloud un lavoro delizioso e di grande fruibilità.

view on web

Giuseppe Piacentino for Musica Jazz, Italy

,

AUTHOR

Yelena Eckemoff

TITLE OF THE DISC

«A Touch Of Radiance» 
«In The Shadow Of A Cloud» (two CDs)

LABEL

L & H Production

 

 

Certainly jazz has never had a character like Yelena Eckemoff. Born in Moscow, where she has been subjected to a strict education in classical music (she is the daughter of a pianist) from a very young age, she moved to New York in 1991, then before the Soviet Union dissolved, and sanctioned her entry into jazz with the publication in 2009 of a cd in trio (with Mads Vinding and Peter Erskine ). Since then she has released eleven discs produced by herself and published by a label she is the founder with her husband.

We can deduce that it enjoys the right economic resources, also because the groups she has gathered have almost always been all-stars: just think that in “A Touch Of Radiance” Turner, Locke, Mraz and Hart play, while the double CD “In The Shadow Of A Cloud » aligns Potter, Rogers, Gress and Cleaver. We can add that the paintings of Yelena are the cover of the CD and that his poems accompany the booklets – sometimes enriched by family photos – the pieces of music, of course composed by her. If you have some prejudices, please put it aside: Yelena is a jazz musician with flakes, as shown by these two beautiful records that underline, song by song, the art of creating expectations or tensions.

Imagine something very close to the so-called “ECM aesthetic” added to the ability that John Lewis had to go often beyond the theme / solo formula to develop music, instead, in a theatrical way, with steps from one musician to another, rebounds and a strong sense of melody as a compass. In Lewis, the leader has the elegant trait, both as an author and as a pianist, both in melancholy tales and in those where the pleasure of the game is more marked.

Choosing between these two disks is impossible: to resume comparisons and use them roughly,  “A Touch Of Radiance”  is more ECM while “In The Shadow Of A Cloud” is more lewisiano, but both reserve delights and surprises. As I write, some of the three CDs announced for the two year period 2018-19 could already be released, with musicians like Manu Katché , Peter Erskine, Paul McCandless and Arild Andersen . After all, Stakhanov was also a Soviet …

Piacentino

 

DISTRIBUTOR

IRD

TRAINING

Yelena Eckemoff (p.), Mark Turner , Chris Potter (ten.), Joe Locke (vib.), Adam Rogers (chit.), George Mraz, Drew Gress (cb.), Gerald Cleaver , Billy Hart (batt.) .

REGISTRATION DATE

 New York, 2014 and 2017.

Original Italian:

AUTORE

Yelena Eckemoff

TITOLO DEL DISCO

«A Touch Of Radiance»
«In The Shadow Of A Cloud» (due cd)

ETICHETTA

L & H Production

Di certo il jazz non ha mai avuto un personaggio come Yelena Eckemoff. Nata a Mosca, dove è stata sottoposta sin dalla più tenera età a una ferrea educazione nella musica classica (è figlia di una pianista), si è trasferita a New York nel 1991, quindi prima che si dissolvesse l’Unione Sovietica, e ha sancito il suo ingresso nel jazz con la pubblicazione nel 2009 di un cd in trio (con Mads Vinding e Peter Erskine). Da allora ha realizzato ben undici dischi da lei stessa prodotti e pubblicati da un’etichetta della quale è fondatrice assieme al marito.

Si può dedurre che goda delle giuste disponibilità economiche, anche perché i gruppi da lei riuniti sono stati quasi sempre delle all stars: basti pensare che in «A Touch Of Radiance» suonano Turner, Locke, Mraz e Hart, mentre il doppio cd «In The Shadow Of A Cloud»allinea Potter, Rogers, Gress e Cleaver. Possiamo aggiungere che i dipinti di Yelena fanno da copertina dei cd e che le sue poesie accompagnano nei libretti – a volte arricchiti dalle foto di famiglia – i brani musicali, ovviamente da lei composti. Se per quanto detto avete qualche pregiudizio, mettetelo da parte: Yelena è una jazzista coi fiocchi, come dimostrano questi due bellissimi dischi che ne sottolineano, brano per brano, l’arte di creare attese oppure tensioni.

Immaginate qualcosa di molto vicino alla cosiddetta «estetica ECM» sommata a quella capacità che aveva John Lewis di andare spesso oltre la formula tema/assolo per sviluppare la musica, invece, in modo teatrale, con passaggi da un musicista all’altro, rimpalli e un ferreo senso della melodia come bussola. Di Lewis la leader ha il tratto elegante, sia come autrice sia come pianista, sia nei racconti malinconici sia in quelli dove è più marcato il piacere del gioco.

Scegliere fra questi due dischi è impossibile: per riprendere i paragoni e usarli in modo forse grossolano, «A Touch Of Radiance» è più ECM mentre «In The Shadow Of A Cloud» è più lewisiano, ma entrambi riservano delizie e sorprese. Mentre scrivo potrebbe già essere in uscita qualcuno dei tre cd annunciati per il biennio 2018-19, con musicisti come Manu Katché, Peter Erskine, Paul McCandless e Arild Andersen. Del resto, Stakanov era sovietico anche lui…

Piacentino

 

DISTRIBUTORE

IRD

FORMAZIONE

Yelena Eckemoff (p.), Mark Turner, Chris Potter (ten.), Joe Locke (vib.), Adam Rogers (chit.), George Mraz, Drew Gress (cb.), Gerald Cleaver, Billy Hart (batt.).

DATA REGISTRAZIONE

 New York, 2014 e 2017.

Recensione
Voto globale
Sommario
5

Punteggio complessivo
view on web

James Rozzi for Jazziz

,

While most of her songs lean toward the ethereal, Eckemoff’s heavyweight band provides the impetus for urbanized jazz. On tenor saxophone, Chris Potter single-handedly muscles even finely textured tunes into the realm of aggressive forays. His approach is near-tart and rangy on the album’s title track and “Vision of a Hunt,” for the latter of which he switches to bass clarinet. On the Latin-tinged “Waters of Tsna River,” the versatile reedist conjures sunny vistas on soprano sax and even picks up his seldom-heard flute.

Eckemoff seems to encourage interpretive freedom in her talented sidemen. Guitarist Adam Rogers solos beautifully on reprieve from reading extensively written parts. Drummer Gerald Cleaver handily delivers on odd phrases and meters, masking any inherent complexities. As a pianist, Eckemoff’s feathery right hand and independent left manifest as a compendium of modern players, minus the swing element. Her melodic sense is strong, completing phrases that always sound pretty, in spite of adventuresome harmonic choices.

“Picnic in the Oaks” comes closest to a grooving swing piece, but the concept seems just beyond Eckemoff’s vernacular. In some ways, her approach is similar to Brubeck’s mathematizing, without the geometric angles. While bassist Drew Gress does his best to set up rhythmic patterns for more triplet-feel coercion, swing is a fleeting element here. Eckemoff’s many ballads are the highlights — bittersweet, poignant and searchingly nostalgic.

View on web

Ron Schepper for Textura

, ,

Yelena Eckemoff Quintet: Blooming Tall Phlox 
L&H Production

Yelena Eckemoff Quintet: In the Shadow of a Cloud
L&H Production

Every artist’s story is unique, though the evidence suggests Yelena Eckemoff’s is more unusual than most. As a young girl growing up in Moscow, she received extensive training in piano and music theory, studied with some of the country’s greatest teachers (Anna Pavlovna Kantor, for example, who also taught Evgeny Kissin), and, after eventually acquiring her Master’s Degree in piano performance and pedagogy, taught piano herself when not playing concerts and writing music. Her life underwent a dramatic change in 1991, however, when she, with her husband, emigrated to the US and subsequently self-released albums of classical, vocal, folk, and religious music. Another pivotal moment arrived in 2009 when she recorded her first jazz album, Cold Sun, with drummer Peter Erskine and bassist Mads Vinding, and in the years since a remarkable string of releases has appeared featuring Eckemoff working with Mats Eilertsen, Marilyn Mazur, Mark Feldman, Arild Andersen, Billy Hart, and others.

While many of her releases are trio dates, two recent small ensemble sets offer a fascinating study in comparison and contrast. The similarities first: both are double-CD affairs that complement Eckemoff’s compositions with poems (one per composition) and paintings by the pianist; both also appear on L&H Production, the label she co-founded and the central outlet for her music. Blooming Tall Phlox and In the Shadow of a Cloud are different, however, in other respects: Eckemoff’s joined by young Finnish lions on the former (trumpeter Verneri Pohjola, vibraphonist Panu Savolainen, bassist Antti Lötjönen, drummer Olavi Louhivuori) whereas New York musicians appear on the latter (woodwinds player Chris Potter, electric guitarist Adam Rogers, double bassist Drew Gress, drummer Gerald Cleaver); conceptually, the two releases differ, too: recorded in Finland in 2013, Blooming Tall Phlox draws for inspiration from scents from Eckemoff’s Russian childhood; In the Shadow of a Cloud deals with evocation also, though in this case it’s places and experiences associated with the life she left behind when she emigrated to North Carolina. Given such details, it shouldn’t surprise that stylistically the tone is different on the recordings, with Blooming Tall Phlox vividly impressionistic in contrast to the more directly melodic and robust In the Shadow of a Cloud.

As also should be obvious, both projects are intensely personal in nature; Eckemoff is anything but a hands-off producer. Yet despite the extreme degree of control she exercises over the recording projects, she doesn’t micro-manage those who accompany her on the sessions. She selects her personnel with care, knowing that once the players are clued in to the project and familiarized with the material she’s written for it, they’ll rise to the occasion and put their own personal stamp on it.

Her playing is distinct, too. Unlike many a pianist who during a formative period absorbs jazz’s traditions in the hope of gradually joining the club, Eckemoff came to jazz in circumlocutory manner, with many years of committed classical playing preceding the shift. As a result, her playing in a jazz context is distinguished by a refined touch that bolsters the music’s distinctive blend (Rogers astutely notes, “Yelena’s music is … different from a normal jazz record because it’s more through-composed, but I wouldn’t describe it as being a ‘classical-jazz’ hybrid record, because it sounds more like she’s assimilated these influences and is expressing them in an already very processed way, processed in a really good way.”) Interestingly, her playing doesn’t dazzle the listener with ecstatic expression; instead, she weaves herself into the performance, her contributions always mindful of the compositional structure in play. She’s a thoughtful player, in other words, who doesn’t feel the need to dominate the proceedings but instead tastefully enhance it.

In keeping with its olfactory theme, Blooming Tall Phlox subdivides into two parts, “Summer Smells” and “Winter Smells,” the song titles in each section directly referencing the memory trace Eckemoff drew upon for their creation. The material’s impressionistic character is established immediately when Louhivuori sprinkles the title track’s intro with percussive bells and cymbal shadings, the pianist following his lead with her own textural contributions. The compositional shape thereafter comes into focus with Pohjola’s entrance, as Lötjönen anchors the group and Savolainen adds his own bright flourishes. That somewhat metre-free opening is nicely followed by “Apples Laid Out On the Floor,” which, powered by the bassist’s walking and the drummer’s flow, swings by comparison and boasts rousing solos by the leader, vibraphonist, and bassist. Among the strongest pieces are “Fish Fried On Open Fire,” due to a wistful theme voiced with conviction by Pohjola and strong support by Louhivuori, and “Talks Over Hot Tea,” thanks to some of the trumpeter’s boldest playing and an uplifting performance by the quintet. Elsewhere, a subtle hint of “Someday My Prince Will Come” is intimated by the melodic progression of “Clementines and Candies on Christmas Tree,” while a trace of R&B sneaks into the relaxed swing of “Aunt Galya’s Perfume.”

The five deliver strong ensemble performances throughout, each one emblematic of attentive listening and sensitive connection. The impression left is of group interplay where each player’s contributions are integral. Do the performances replicate in musical form the scents associated with a bread store, pine needles, wildflower meadows, and an aunt’s perfume? As much, perhaps, as they can when instrumental playing’s involved; at the very least, one can say that Eckemoff’s settings are evocative, especially when Louhivuori functions as percussionist as much as drummer and when Pohjola, muted and otherwise, and Savolainen consistently bring rich texture to the playing.

On In the Shadow of a Cloud, the Finnish musicians’ American counterparts—woodwinds and guitar replacing the trumpet and vibes as lead voices—prove to be as strong a fit for Eckemoff’s music; in fact, the fit might be even better for the way their performances lend her compositions such striking immediacy and help the music communicate so forcefully. As mentioned, the release shares with Blooming Tall Phlox a nostalgic dimension, though this time the scent-based concept expands to memories of places and things experienced during her life in Russia. The playing is so seamless, it’s hard to believe that the sessions for the date were the first time the five had played together, even if Eckemoff’s collaborators had performed together in various permutations before the December 2016 recording date. All five acquit themselves admirably, though special mention must be made of Potter, whose contributions stand out for the many timbres his tenor and soprano saxophones, flute, and bass clarinet bring to the material.

Like Blooming Tall Phlox, a number of pieces stand out as particularly memorable, the opening title track certainly one. In a full-bodied, vibrato-tinged tenor, Potter voices the pleading eight-note theme first, after which it’s repeated by Eckemoff and Rogers, each partner contrapuntally shadowing another’s utterance and sometimes voicing it in unison. Whereas Cleaver and Gress provide a free-floating base in this piece for the others’ musings, their grounding is solidly defined in the subsequent “Saratovsky Bridge,” which again sees Potter clarifying the material’s shape with a forceful articulation of its melodies and delivering a muscular solo as well. Joining him on the front-line are Rogers and Eckemoff, the former opting for elegant, abrasion-free fluidity and the latter enriching the pieces with solos ever connected to the composition out of which they grow.

Not surprisingly, the performances often convey in musical form the tone of the composition as suggested by its title. The relaxed flow of “Waters of Tsna River” is conveyed not only by Potter’s flute and Eckemoff’s lightly swinging solo but by Cleaver’s confident handling of the tune’s 5/4 time. “On the Motorboat,” on the other hand, moves briskly, the image quickly forming of Eckemoff and family cruising down the waterways on a gorgeous summer’s day and feeling the cool wind in their faces. With many of renderings delicate in tone (“Acorn Figurines,” on which the leader delivers one of her most appealing solos, and “Hammock Stories,” a lovely ballad featuring a strong thematic statement by Potter), the uptempo performances stand out for being modest in number. The second disc’s breezy opener “Picnic in the Oaks” sees Eckemoff and company digging into a bluesy, half-speed swing like they were born to it, with all four—Potter sitting this one out and Rogers stepping out forcefully in his absence—riffing memorably on the changes. More rhythmically emphatic is “Vision of a Hunt,” which also offers a rare sampling of Potter’s bass clarinet playing.

As full an Eckemoff portrait as these releases provide, they’re not the whole picture; no doubt she assumes a more dominant role as a player on the trio recordings than she does as a quintet member; one also expects that her playing figures even more prominently on Colors, her upcoming release with drummer Manu Katché. Blooming Tall Phlox and In the Shadow of a Cloud nonetheless provide a sterling survey of her artistry, especially when her talents as a musician, composer, producer, and conceptualist are showcased so thoroughly.

Ron Schepper for Textura
view on web

Rainer Guerich for inMusic.de

,

The Russian pianist Yelena Eckemoff has been living in New York since the early 1990s, where she has earned an excellent reputation in the jazz scene there for many years. Especially because of her lyrical-improvising piano style, of which she is also featured on her latest recording.

“In The Shadow Of A Cloud” gives a successful taste. The opulent double CD with a total of 96 Minutes of playing time serves a first-class piano jazz. Yelena is supported by her New York sidecrew around Chris Potter (sax), Agam Rogers (guitar), Drew Gress (bass) and Gerald Cleaver (drums). Tip!

Original German:

Rainer Guerich for inMusic.de

Internet Bookshop Italia (ibc.it)

In the last seven years the talented pianist Yelena Eckemoff has managed to publish eleven albums and to win the esteem of the musicians with whom she collaborated. And from Arild Andersen to Peter Erskine, Billy Hart, Mark Turner, George Mraz, Joe Locke and Mark Feldman, they are prominent names in the jazz scene. Yelena Eckemoff, however, is not only a virtuoso of her instrument, but also a talented composer and arranger, as well as producer of her own records. In the 14 tracks of the double CD “In the Shadow of a Cloud” shows great harmony with the multi-instrumentalist Chris Potter, guitarist Adam Rogers, bassist Drew Gress and drummer Gerald Cleaver. In addition to establishing a dialogue between American and European musicians, canceling the presumed differences between their respective jazz styles, this album combines poetry, refined technique and interpretive intensity. A rare example of the balance between intellectual complexity and emotional immediacy.

Original Italian:

Negli ultimi sette anni la talentuosa pianista Yelena Eckemoff è riuscita a pubblicare ben undici album e a conquistarsi la stima dei musicisti con cui ha collaborato. E da Arild Andersen a Peter Erskine, Billy Hart, Mark Turner, George Mraz, Joe Locke e Mark Feldman, si tratta di nomi di spicco della scena jazzistica. Yelena Eckemoff però non è solo una virtuosa del suo strumento, ma anche una talentuosa compositrice e arrangiatrice, nonché produttrice dei propri dischi. Nei 14 brani del doppio CD “In the Shadow of a Cloud” dimostra grande affiatamento con il polistrumentista Chris Potter, il chitarrista Adam Rogers, il bassista Drew Gress e il batterista Gerald Cleaver. Oltre a intavolare un dialogo tra musicisti americani ed europei, cancellando le presunte differenze tra i rispettivi stili jazzistici, questo disco accosta poesia, tecnica sopraffina e intensità interpretativa. Un raro esempio di equilibrio tra complessità intellettuale e immediatezza emotiva.

View on web

Yahoo.jp blog: When Jazz and Audio Meet

,

Yelena Eckemoff is a female pianist from Moscow. It seems that she later exiled and is working in the United States. She seems release her leader’s work for about ten years in the past. However, personally, it is the first time that they are unaudited. The motive for purchasing is unquestionably the personnel: Yelena Eckemoff (P), Chris Potter (Ts, Ss, Fl, Bcl), Adam Rogers (G), Drew Gress (B), Gerald Cleaver (Ds)

The album is 2 parts, each CD contains 7 songs. All originals by Yelena Eckemoff.

I thought that jazz concentration might be diluted, because there are many non-4 beat songs with strong contemporary color, but it appeared thast the jazz concentration is performance is quite deep, I guess.

Chris Potter’s saxophone is characterized by skillfulness of playing and making the instrument sound individual, solid, and neat. There are no parts that blow too hard along the tune, but you can not feel dissatisfied by listening.

Yelena Eckemoff is a type that plays a beautiful melody with a beautiful tone that makes you feel a little classical taste, and she does not seem like she confronts the piano very intensely. It’s a feminine piano.

Adam Rogers’s performance makes a little idyllic atmosphere, which feels comfortably in conjunction with music. Clearly, I think that it is better to for him to have a taste like the one heard here, rather than his past performances in his works as a leader. But, While enjoying this performance, it seems a little disappointing that his preference would be different.

Although the drumming of Gerald Cleaver does not become like a rage as it goes on and on, it is comfortable coupled with other rhythm instruments carving a solid beat. Is there any expression that Drew Gress’s bass, the other side of that rhythm, is doing other good job with the impression that the bass tightens performance lightly.

It is a good idea to think of redundancy, but she does not feel it, she releases 2 discs for the sake of feeling and storedividing. I think that it would be good to have divided the project into two albums in a nice way and released them with a little interval.

As for the best, it is the fifth tune of disk two.

Original Japanese:

Yelena Eckemoffはモスクワ出身の女性ピアニスト。のちに亡命してアメリカで活動をしているようです。
過去に10枚くらいはリーダー作が出ているよう。ただし、個人的には、いずれも未聴でこれが初。
購入動機は、紛れもなくメンツ買いであります。
そのメンツは、
Yelena Eckemoff(P)、Chris Potter(Ts,Ss,Fl,Bcl)、Adam Rogers(G)、Drew Gress(B)、Gerald Cleaver(Ds) 

アルバムは２枚組で、演奏曲は各7曲ずつの14曲。すべてYelena Eckemoffのオリジナル。

メンツがメンツなんで、コンテンポラリ色強めの非4ビート曲が多めで、曲としてのジャズ濃度は薄めってことになるとは思うがメンツがメンツなんで、演奏としてのジャズ濃度はかなり濃いめと言って良いでしょう。

Chris Potterのサックスは、個性はしっかりと出していながら端正な響きと感じさせる演奏の巧みさ。
曲調に沿ってあまり激しくブローするような場面はないが、聴いてて不満は感じられない。

Yelena Eckemoffは少しクラシックなテイストをも感じさせる、きれいな音色できれいな旋律を奏でていくタイプで、あまり激しくピアノと対峙するような感じてはないか。
実に女性らしいピアノと言えるでしょう。
Adam Rogersのちょっと牧歌的な雰囲気を感じさせる演奏が曲調ととも相まって心地よく響く。
はっきり言って、先日のリーダー作でのとんがった演奏よりも、ここで聴かれるようなスタイルのほうが味があって良いと思うんだけど、本人の希望嗜好は違うんだろうなと、少し残念に思いつつ、この演奏を楽しんでいます。
Gerald Cleaverのドラムが、ここでも曲調通り暴れまわるようなことにはならないが、堅実なビートを刻んでいるのが他のリズム楽器と相まって心地良い。
そのリズムのもう一方であるDrew Gressのベースがことのほか良い演奏をしている印象で、軽快に演奏を締めているという表現があっているか。

2枚組にするのは、冗長性を考えると得策なが感じはせず、厳選して1枚に収めるか、
うまい具合に2つのアルバムに分けて、少しインターバルをおいてリリースしても良かったんじゃないかとも思うがいかがか？

ベストは、disk2の5曲め

“In the Shadow of a Cloud” Yelena Eckemoff Quintet (https://www.amazon.co.jp/dp/B071S9DJ87/)

View on web

Josef Engels for Rondo Nr. 1018

,

Russian pianist Yelena Eckemoff is an amazing person. Since she went to the States in 1991, where she ended up in jazz after exploring classical music, Christian music and folk, she has recorded ten albums with illustrious American and European improvisers from Peter Erskine to Verneri Pohjola. Also known as “In The Shadow Of A Cloud”, top performers such as saxophonist Chris Potter and guitarist Adam Rogers were produced by the pianist on their own and illustrated with their own paintings.

But as naïve as the landscape paintings that decorate the cover and booklet, Eckemoff’s musical journey into her own youth in Russian land is nowhere near. Rather, the compositions of the pianist, audibly influenced by late romanticism and impressionism, are meticulously planned through. Motives and accompanying lines, which often make it difficult to distinguish between Eastern European Slavic, are closely interwoven. And they are gently passed through the instrument groups like a filigree Giacometti figure, which is willfully taken apart in small free passages.

These are pieces that, while they are still swinging or sometimes have something like a bossa rhythm (delicately hinted by bassist Drew Gress and drummer Gerald Cleaver), are completely cliché free. Eckemoff’s sound paintings are enchanced by Potter, who, in addition to tenor and soprano sax, also plays flute and bass clarinet, and Rogers, who frames it with a deeply relaxed melody-wide spinning. Just as calmly, the pianist dabbles her solos in the imagined fields and waters of her youth memories, like tripping on wet grass. Autumn jazz for the longer nights, when the hope for the spring glows.

Original German:

Die russische Pianistin Yelena Eckemoff ist ein erstaunliches Persönchen. Seitdem sie 1991 in die Staaten ging und dort nach Ausflügen in die Klassik, die christliche Musik und Folk 2009 beim Jazz landete, hat sie mittlerweile zehn Alben mit illustren amerikanischen und europäischen Improvisatoren von Peter Erskine bis Verneri Pohjola aufgenommen. Auch „In The Shadow Of A Cloud“ weist Spitzenkräfte wie Saxofonist Chris Potter oder Gitarrist Adam Rogers auf, wurde von der Pianistin in Eigenregie produziert und mit eigenen Gemälden illustriert. 

Doch so naiv wie die Landschaftsbilder, die Cover und Booklet zieren, ist Eckemoffs musikalische Reise in die eigene Jugend auf dem russischen Land an keiner Stelle. Vielmehr sind die Kompositionen der hörbar von Spätromantik und Impressionismus beeinflussten Pianistin minutiös durchgeplant. Motive und Begleitlinien, die oftmals etwas schwer identifizierbar Osteuropäisch-Slawisches durchschimmern lassen, sind eng verwoben. Und sie werden behutsam durch die Instrumentengruppen hindurchgereicht wie eine filigrane Giacometti-Figur, die in kleinen freien Passagen mutwillig auseinandergenommen wird. 

Es sind Stücke, die zwar still swingen oder auch mal so etwas wie einen Bossa-Rhythmus erkennen lassen mögen (delikat von Bassist Drew Gress und von Schlagzeuger Gerald Cleaver angedeutet), dabei aber völlig klischeefrei wirken. Eckemoffs Tongemälde liefern Potter, der neben Tenor- und Sopransax auch mal zu Flöte und Bassklarinette greift, und Rogers einen Rahmen für tiefenentspanntes Melodienweiterspinnen. Ebenso unaufgeregt tupft die Pianistin ihre Soli wie Trippelschritte auf feuchtem Gras in die imaginierten Felder und Gewässer ihrer Jugenderinnerungen. Herbstjazz für die länger werdenden Nächte, in denen die Hoffnung auf den Frühling glimmt.

View on web

Robert Ratajczak for Long Play

,

Yelena Eckemoff, a Russian pianist, lives and is works in the United States for a quarter of a century, where she has a reputation for excellence. She is a very creative artist, uniting the most outstanding jazz musicians. She records each of her albums with the musicians whose names often capture the spirit of every jazz fan. Among the musicians participating in her recordings are: Peter Erskine, Billy Hart, Ben Street, Morten Lund, Joe Locke, Mark Turner and Tore Brunborg. The last, two-disc album of this unique and unmatched artist titled “In the Shadow of the Cloud” was also recorded in an impressive lineup of the best musicians. In addition to Yelena Eckemoff, a pianist, her quintet includes Chris Potter (saxophones, flute, clarinet), Adam Rogers (guitar), Drew Gress (bass) and Gerald Cleaver (drums).

This is the second album of the pianist, released in 2017 after the brilliant “Blooming Tall Phlox,” containing recordings from 2013. Surprising is extremely fruitful activity of the pianist, who has really been operating in jazz for only eight years, but previously was equally successful in the aesthetics of classical music. Subsequent albums of the artist are issued with great care by her own independent label L & H, and because Yelena Eckemoff is not only a phenomenal pianist and composer, but also a very sensitive poet and artist, the album inserts are decorated with beautiful paintings and texts illustrating the music. She did the same for “In the Shadow of a Cloud.”

Despite the fact that almost every album of the pianist is recorded in a different line-up of musicians, Eckemoff’s presence can always be easily heard on each album, and listening to the music reveals that the configuration of what we hear, has had a long collaboration and much in common. Also, the original compositions on the following albums seem to be ideal for the possibilities and predispositions of each instrumentalist, regardless of whether we are dealing with a trio, a quartet or with this album – a quintet.

Each of the fourteen songs, filling “In the Shadow of a Cloud,” is a real musical pearl. It’s hard to detect any weak moments here, which completely justifies stretching the album into two almost 50-minute discs.

Although we are dealing with a truly stellar configuration consisting of musicians with unique identities, they cannot suppress the genius of the pianist. This does not mean that we do not have the opportunity to listen to Chris Potter’s phenomenal parts, Adam Rodgers’ excellent solos and the wonderful work of Gress – Cleaver. Each of the musicians makes a huge contribution and maximum commitment, but it is Yelena Eckemoff that shines brighter here, as the creator of the whole enterprise, pianist, composer and soul of the whole.

Original Polish:

Rosyjska pianistka Yelena Eckemoff już od ćwierćwiecza mieszka i tworzy w USA, gdzie dziś cieszy się wyjątkową renomą. Jest bardzo kreatywną artystką, skupiającą wokół siebie najznakomitszych muzyków jazzowych. Jej kolejne albumy nagrywane są w składach niejednokrotnie zapierających dech w piersi każdemu miłośnikowi jazzu. Wśród muzyków biorących udział w jej autorskich nagraniach znajdziemy m.in. Petera Erskine’a, Billy’ego Harta, Bena Streeta, Mortena Lunda, Joe Locke, Marka Turnera czy Tore Brunborga. Najnowszy, dwupłytowy album tej wyjątkowej i nie mającej sobie równych artystki, zatytułowany “In the Shadow of a Cloud”, nagrany został również w imponującym składzie złożonym z topowych muzyków. Skład Yelena Eckemoff Quintet wraz z pianistką tworzą: Chris Potter (saksofony, flet, klarnet), Adam Rogers (gitara), Drew Gress (kontrabas) i Gerald Cleaver (perkusja).

To już drugi dwupłytowy album pianistki wydany w 2017 roku po znakomitym “Blooming Tall Phlox” zawierającym nagrania z 2013 roku. Zaskakująca jest niesłychanie owocna aktywność pianistki, która tak naprawdę dopiero od ośmiu lat prowadzi działalność jazzową, wcześniej z równym powodzeniem poruszając się w estetyce muzyki klasycznej. Kolejne albumy artystki wydawane są bardzo starannie przez własną niezależną wytwórnię L & H, a ponieważ Yelena Eckemoff to nie tylko zjawiskowa pianistka i kompozytorka, ale też wyjątkowej wrażliwości poetka i malarka, okładki płyt ozdabiają piękne obrazy i teksty ilustrujące muzykę. Tak wydany jest też album “In the Shadow of a Cloud”. 

Mimo że niemal każdy album pianistki nagrywany jest w innym składzie, Eckemoff zawsze potrafi sprawić, że słuchając płyty trudno oprzeć się wrażeniu że konfiguracja jakiej słuchamy, ma za sobą bardzo długą współpracę i wiele wspólnych doświadczeń. Również autorskie kompozycje zawarte na kolejnych płytach zdają się idealnie trafiać w możliwości i predyspozycje każdego z instrumentalistów, i to bez względu na to czy mamy do czynienia z triem, kwartetem, czy jak w przypadku tego albumu, kwintetem.

Każdy z czternastu utworów wypełniających “In the Shadow of a Cloud” to prawdziwa muzyczna perła. Trudno doszukać się tu jakichkolwiek słabszych momentów, co w pełni uzasadnia rozpięcie albumu do dwóch blisko 50-minutowych dysków. 

Mimo że mamy do czynienia z prawdziwie gwiazdorskim składem, złożonym z muzyków o wyjątkowych indywidualnnych osobowościach, ani przez moment nie są w stanie przyćmić geniuszu pianistki. Nie znaczy to że nie mamy okazji zasłuchać się w zjawiskowe partie Chrisa Pottera, czy znakomite solówki Adama Rogersa i wyśmienitą pracę sekcji: Gress – Cleaver. Każdy z muzyków wnosi ogromny wkład i maksymalne zaangażowanie, jednak to właśnie Yelena Eckemoff lśni tu najjaśniejszym blaskiem, jako twórca całego przedsięwzięcia, pianistka, kompozytorka i dusza całości.

View on web
1 2 3 4
Back to top