Bob Weathers

Dr. Bob Weathers for Amazon.com

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What better gift to receive — having made it through what appears to be the worst of our ongoing, and horribly destructive, global pandemic — than a gift borne of the very opposite of such physical destruction, namely, that of spiritual creation? Yelena Eckemoff’s latest, thoroughly multimedia album is just exactly what the doctor ordered…

Ms. Eckemoff features yet again a combined synthesis of the most advanced presentation of contemporary jazz (more about that soon), her own illustrations of the theme du jour (natural beauty), and her original poetry to accompany and amplify the former. A total package!

In fact, if as Oscar Wilde observed — “Imitation is the sincerest form of flattery” — then how else can I explain that my own daughter, Amanda, and I have managed to keep our souls alive through COVID by co-creating just such a melange of recorded music and poetry (mine) coupled with photographs and artistic treatments (Amanda’s)? Yelena: your intrepid artistry has rubbed off in the most felicitous way imaginable, and we thank you!

Back to the musical portion of Ms. Eckemoff’s latest offering: I have loved every single album of her prodigious career, and yet this newest one may well be my favorite of all. Why is that? Yelena has brought together once again a truly sterling ensemble (this time, from Finland) whose skills and sonorities I find to be the ideal vehicle for the composer’s imagination. Yelena orchestrates her piano-based jazz compositions for a never richer palette of sounds: everything from vibraphone, electric guitar, and Theremin (yes, you heard me correctly!) to stellar support from surely one of my favorite drummers on the planet (Olavi Louhivuori), along with jazz sax and bass contributions that just consistently work.

Yelena has never created such sumptuously gorgeous music right up next to daring avant-garde leaps into the abstract, and back again, quite like Adventures of the Wildflower. From the moment I fired up this new disc, I was taken into what felt like her private universe of highly unusual and personal colors, one more varied than ever before, yet as integrated in overall conception as virtually everyone of her recordings has been. I personally believe it’s Yelena’s deep background in classical music that makes for such rich tapestries in her compositional and arranging skill set. When she combines that, as she consistently does, with an improviser’s heart (and ear)…well, I’m not sure jazz gets much better, nor more rewarding on multiple listenings, than the album I hope you are now holding in your hands. Enjoy!

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Dr. Bob Weathers for Amazon.com

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5.0 out of 5 stars

Title: A Genuinely Historic Document!
Reviewed in the United States on March 22, 2020 Format: Audio CD

There are few jazz music labels that are revered, and instantly recognized, by jazz aficionados…and even fewer recording engineers that have earned universal respect from music-lovers across the world. ECM Records, helmed by producer Manfred Eicher, is the former. His go-to engineer for the past half-century, Jan Erik Kongshaug, the latter.

ECM is this year celebrating its 50th anniversary, with feature articles in every major jazz magazine, including DownBeat and Jazz Times, and commemorative concerts around Europe and the United States. (I just caught their representatives here in southern California, at the Blue Whale Jazz Club in Los Angeles.)

And…

Dear Mr. Kongshaug has, sadly, just passed.

His loss — to all who have looked forward to his every production these past decades — is inestimable.

I, myself, made a personal pilgrimage to Oslo, Norway, exactly ten years ago. Having corresponded with Jan Erik prior to my travels, I was so gratified that he welcomed me to visit him at his world-renowned Rainbow Studios (in Oslo). As fate would have it: there is only one other fellow Norwegian who could possibly have trumped my meeting Mr. Kongshaug…and yes, that individual, drumming pioneer, Jon Christensen, agreed to meet me the very same time I had scheduled for visiting Rainbow Studios. I hastily called Mr. Kongshaug with my dilemma, and he beyond generously said: “You’re a drummer, Bob. And you’ve loved Jon Christensen for as long as he has recorded with me. You should meet him instead. I’ll be with you both in spirit.”

Thus it was that I spent several hours, that May afternoon in 2009, with the man who has more deeply influenced my drumming conception than anyone, by far: Mr. Christensen.

All of which brings me to the current review, of dear Yelena Eckemoff’s most recent offering, “Nocturnal Animals.” Yelena’s music has been a fixture in my home this entire, past decade. I’ve been blessed to review several of her prior albums, and am grateful to be doing that again here. But what of the above introduction?

It’s simple, really. Yelena’s piano conception, her depth of field in drawing together classical traditions (including from her native Russia) with jazz execution (she has literally drawn to her side most every jazz luminary worth mentioning these past 10 years) lies at the heart of Manfred Eicher’s original vision for ECM Records, dating all the way back to 1969.

And if that weren’t enough: Yelena has drawn here, with “Nocturnal Animals,” on two of the original cadre of ECM artists — bassist nonpareil Arild Andersen and drummer Jon Christensen (you already know how I feel about him) — along with the next generation vanguard, Thomas Strønen (more about him soon), to create a complete Meisterwerk, exemplary of Eicher’s initial inspiration — all of it recorded for all posterity in what, sadly, represents one of Jan Erik Kongshaug’s final offerings from the mecca of contemporary recording, Rainbow Studios in Oslo!

Can you believe how fortunate we are to have this lasting, truly legacy recording?

Jon Christensen, the quintessential ECM drummer himself, laying down intertwining beds of trans-metrical rhythms…anchored by his successor, even heir apparent, fellow Norwegian Thomas Strønen, whose precision, coupled with utter originality, is itself an absolute wonder.

I love how Jan Erik captured in the left channel, Mr. Christensen, and in the right, Mr. Strønen, as they sing and dance around Ms. Eckemoff’s pianistic journeys. I say “journeys,” because if you stop everything, and pay very close attention, you will find yourself taken on voyages to every continent, every culture, every imagined world with Yelena’s incredibly unique and evocative compositions and expressions on concert grand.

Yelena is the epitome of creative humility: her technique, at the very highest imaginable level, and yet, even with that, her openness to create space for her compatriots.

Speaking of: Arild Andersen — who must surely be the definition of “ageless” — draws from the depths of his instrument…a world of bass. His solos are riveting — and you could literally visit both albums of this 2-CD set and place all your attention on Andersen’s bass contributions, and leave completely filled and satisfied.

Imagine then what it must be like to experience the convergence of four, genuine masters — each of his or her respective instrument — as they roll out deep listening and engagement with one another, unquestioned virtuosity at their fingertips, all in fidelity to Yelena’s unending flow of creative and (even for her) unusually spacious composition.

I cried when I listened to this supernal album. Jan Erik is no longer with us. Jon Christensen nears the end of his recording career (his every solo moment on this album defines tastefulness and grace) – and generously passes the baton onto his friend and protégé, Thomas Strønen. Who knows how much longer we will have dear Arild Andersen with us? (Please don’t miss his sterling contributions to several of Ms.Eckemoff’s prior album masterpieces, including “Glass Song,” “Lions,” “Everblue,” and “Desert.”)

And dear Yelena: for your heart and mind this entire past decade…for your utterly prodigious output at only the very highest quality…for the spirit that suffuses not only your sonic contributions, but also the extraordinary poetry and paintings (all your own) which accompany each of your albums…and yes, for your immortalizing here one of the very final recordings ever by Jan Erik Kongshaug, one of the great engineers of all-time, himself a key architect of “the most beautiful sound next to silence” (ECM Records’ absolutely accurate motto)…for all this and more – blessing upon blessing as you move into the New Year and new decade, beginning most auspiciously with this incredible testimony to modern jazz at its best: “Nocturnal Animals”!

P.S. I write this postscript in March of 2020: the coronavirus pandemic is upon us all. And dear, dear Jon Christensen just passed away one month ago, after a lengthy, severe illness and hospitalization. Ironically, I found out about Jon’s grave illness during an interview with yet another contributor to several of Yelena Eckemoff’s classic recordings, drummer Peter Erskine. Peter informed me initially; then just one week later, Jon passed. As it turns out (and again, quite synchronistically), I was interviewing drummer Billy Hart (also a major contributor to Yelena’s music in recent years) but a week or two later, and mentioned in passing my deep sorrow with Jon’s passing. Billy stopped the interview, thunderstruck, informing me that he had not been aware of Jon’s passing. Three drummers, all three intimately connected to Yelena Eckemoff, all three drumming giants with deep, mutual respect for one another, and for Ms. Yelena. So please add blessed Mr. Christensen to my above dedicatory to Jan Erik Kongshaug: the passing of both lend even further, unfathomable value to this recording you will soon be enjoying. It’s truly an historic document!

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Dr. Bob Weathers for Amazon.com

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5.0 out of 5 stars

Title: Yelena Eckemoff’s “Colors”: A Jazz Piano/Drums Duet from Heaven!

Written: January 27, 2019 — Format: Audio CD

Perched for release in February 2019 is pianist extraordinaire Yelena Eckemoff’s latest musical gift to us all, this time an unbelievably attuned duet with master drummer Manu Katché. Ms. Eckemoff’s resumé speaks for itself, 14 (that’s right: 14!) album releases in this past decade, all of them featuring her incredibly rich compositions and amazing keyboard facility alongside the absolute cream of the crop of contemporary jazz artists. Manu Katché comes to this recording with decades now of having first accompanied hall of fame pop artists from Peter Gabriel and Joni Mitchell to Sting and the Band’s Robbie Robertson, then moving into an entire second career as drummer-of-choice for the much-honored jazz label, ECM Records, including as featured percussionist with European sax giant Jan Garbarek as well as Katche’s own series of best-selling solo albums (themselves highlighting performances by major movers and shakers in modern-day European jazz).

Which brings us to this unanticipated surprise of an album: gorgeous piano and nuanced composition meets equally gorgeous and nuanced drumming, care of two of the more extraordinary artists on the planet! Yelena Eckemoff provides one singable melody after another, improvising freely off each theme she lays down, and is followed (and perhaps sometimes even led?) by the sterling contributions of Manu Katché. In jazz, one of the highest compliments a musician might receive is to be observed as having “big ears,” that is, to be one who listens closely to her or his fellow creative colleagues, and engaging in a kind of real-time dialogue, truly in “flow,” which is quite possibly jazz’s greatest addition to the stage of world music. Suffice it to say that Ms. Eckemoff and Mr. Katché listen so closely, and interact with such exquisite sensitivity, that it becomes difficult to even separate them from one another – theirs is an intimacy rarely experienced in any art form.

A brief postscript: a duet performance of only piano and drums, like the current recording, is itself exceedingly rare. And this dance of truly companion spirits is precious beyond words. This music serves as meditative backdrop, if one so desires; it is equally deserving of microscopic attention, insofar as two such stellar talents provide respectively an album-length set of in-depth master lessons in musical dynamics, technical acumen, and intensely in-sync interplay. I, for one, found myself in no way longing for any other instrumental accompaniment (in jazz, for example, typically with bass and some type of horn). This meal is complete of itself – soul-satisfying in every way.

So what are you waiting for? Order a copy of Yelena Eckemoff’s “Colors” now, and prepare yourself for some serious pleasure with an unprecedented album of piano/drum duets that are guaranteed to be timeless.

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Dr. Bob Weathers for Amazon.com

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5.0 out of 5 stars
Title: Yelena Eckemoff’s “Desert”: Extraordinary Quartet Jazz in an Arabic Mood!
Originally released just last year, in 2018, is yet another, incredibly unique and creative offering by pianist extraordinaire (and prolific composer) Yelena Eckemoff. Yelena may be Russian by birth, and now American by residence, but you would not know that by the exotic tonalities expressed in this, her latest album. From the opening strains, and consistently voiced throughout, Yelena this time takes us to the desert climes of north Africa and the Middle East, where Arabic scales and rhythms reign supreme.

What an unexpected joy to hear her take us on a thrilling journey with this caravan of equally intrepid explorers, all expert artists with resumés to match: woodwind maestro Paul McCandless (most famously of the world music pioneers, Oregon; but do not miss his rich solo career, either); bassist Arild Andersen (whose ECM explorations, since that esteemed label’s very earliest days 50 years prior, have truly defined that instrument); and Peter Erskine, esteemed percussionist and educator (having played with everybody from Stan Kenton to Weather Report and on, not the least of which are his own essential, solo dates on ECM).

To bring this level of musicianship to the task of translating Arabic sonorities into the best of jazz improvisation – well, let us just say, Yelena’s choices are themselves further strokes of her immense genius. Paul McCandless dances with Yelena, her piano perfectly complemented by his insinuating oboe, wooden flute, and other woodwind work, conjuring sensual images of Saharan oases. Arild Andersen’s bass has never sound more full-bodied, nor more surprising, in his own seeming native familiarity with the ways of the desert caravanserai. Peter Erskine has pulled together a most unusual drum kit, combining more expectable Western jazz sounds (though he is clearly amongst a small handful of those most expert) with distinctively Arabic applications (imagine an Egyptian wedding, with goblet hand-drums ringing across the Nile).

Dear Yelena: you gift us with your own pianistic depth and imagination (such fine and creative comping, “behind the scenes,” for one); unceasing compositional creativity in formulating this genuinely compelling musical milieu; and completing it with a radical masterstroke of artistic team selection: a quartet here of authentically like-minded (and selfless) souls, all joined so profoundly in bringing Arabic evocations right into the heart of the improvised jazz traditions.

A brief postscript: credit Ms. Eckemoff for inspiring at least one listener to go seeking not only more of her music (14 albums in just the past 10 years), but also to go in search of music he has not listened to in well over a decade – other indigenous masters of Arabic exotica, like Djavan Gasparyan, Kudsi Erguner, Anouar Brahem, and Rabih Abou-Khalil (the latter two, themselves, with numerous, highly regarded albums available on ECM Records).

And a quick question: Yelena, are you really sure you are from Russia?

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Dr. Bob Weathers for Amazon.com

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Title: Yelena Eckemoff’s “Everblue”: Modern Jazz Composition & Group Interaction at the Very Highest Level!

Some years ago, in Paris’ oldest existing church, I had occasion to witness one of those transcendent musical moments you only long for. The featured piano recitalist performed an all-Chopin program. However, at the very end of the last song of the evening, he unexpectedly segued from that Chopin waltz into a chorus adapted directly from jazz master Bill Evans’ own, most famous piece: “Waltz for Debby.” The shift was so subtle that most listeners likely missed the latter, extended homage to Evans. After the concert, as the evening’s humble virtuoso stood in a receiving line, I leaned forward and whispered in his ear: “Bill Evans.” He smiled broadly at the recognition…

I share this immensely meaningful highlight from my own lifetime romance with all genres of music (though particularly jazz) because it leads me to the door of Yelena Eckemoff’s latest, marvelously satisfying contribution: “Everblue.” As with the Parisian pianist that night, who spoke only French (and I, English), so it is with Ms. Eckemoff, whose Russian background is matched by mine in Texas. Two very different worlds geographically. But not just that Parisian parallel: Yelena bridges, as did the exquisite Chopin/Evans performance, equal adeptness in two, traditionally non-intersecting musical worlds — classical and jazz.

Part of what makes “Everblue” such satisfying brew is Ms. Eckemoff’s obvious mastery of jazz, even while rooted in years of classical immersion and training in Russia. I’ll leave it to others to verify, but I understand that she through-composes her entire piano parts, sans improvisation, across her entire jazz discography. All I know for sure is that, as a lifelong jazz drummer, you could have fooled me! Yelena’s jazz piano, written out in toto or not, conveys what the best modern jazz pianists (from Bill Evans to Keith Jarrett and Ms. Eckemoff herself) have always expressed: the spirit of improvisation, of acute in-the-moment listening and responding which truly sets jazz apart from all other art forms.

Here, with “Everblue,” categories (of jazz or classical, of improvised vs. composed) no longer pertain. All that matters is the being moved; which you, as open-eared listener, will no doubt be by this Yelena Eckemoff/Arild Andersen-penned suite of ocean/sky-themed compositions.

It is no small deal the coup that Yelena has pulled off here: to bring together four, certified masters of European jazz. Arild Andersen, a giant on bass; Jon Christensen, his equal on drums; Tore Brunborg, a companion of Andersen and Christensen for 35 years, on saxophones; all captured in utterly transparent fidelity by the preeminent engineering maestro himself, Jan Erik Kongshaug, in his world-renowned Rainbow Studio in Oslo.

With all due respect to Manfred Eicher — and he deserves a world of it! — and the fathomless legacy of ECM Records…Ms. Eckemoff has brought this same aesthetic to our doors, at least for this time, quite outside of Eicher/ECM’s hallowed imprimatur. (An intriguing situation!)

I have such respect for Yelena, the artist: whose courage over the course of her growing jazz oeuvre (every album is worth owning) includes drawing only on the “best and brightest” in modern jazz players (and now engineers). She picks only those most sensitive of accompanists to join her in expressing the jazz compositions coming through. Each album, and “Everblue” is no exception, exemplifies the kind of selfless interaction which characterizes the finest that jazz music has to offer.

While “Everblue” may be no exception to the across-the-board excellence of her entire output to date, it nevertheless, to my mind, represents the culmination of all that has come before for Yelena. Andersen’s subtle harmonics, Christensen’s glancing cymbal caresses, Brunborg’s whispered cries, all circling about the piano as hub — Ms. Eckemoff the most elegant mistress of ceremonies — are just small examples of what make for the rich, fully nourishing meal most music-lovers treasure.

Do just that right now: sit back, savor each composition, and indeed the inseparable whole of all these thematically linked pieces, and anticipate good things. Yelena Eckemoff most definitely delivers!

Dr. Bob Weathers, Irvine, California

P.S. Don’t miss the superbly produced Youtube videos announcing the release of “Everblue”:

 

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