Scott Yanow – YelenaMusic

Scott Yanow for Downbeat

Yelena Eckemoff, born in Russia and based in North Carolina, converted to Christianity while still living in Moscow. She has long been interested in setting verses from the Bible’s Book of Psalms to music, composing jazz originals that in some cases are word-for-word musical recreations. In 2018, she recorded many of these compositions on Better Than Gold In
Silver, a set that contained both vocal pieces and instrumentals.

The two-CD I Am A Stranger In This World, which is strictly instrumental, includes three selections that were left off of the earlier set due to lack of space: the title cut, “Like Rain Upon The Mown Grass” and “Every Beast Of The Field.” Those performances team the pianist-composer with trumpeter Ralph Alessi, violinist Christian Howes, guitarist Ben Monder, bassist Drew Gress and drummer Joey Baron. The other six numbers were recorded at the height of the pandemic in December 2020 and have Eckemoff joined by Alessi, Gress, guitarist Adam Rogers and drummer Nasheet Waits.

Eckemoff’s originals are full of rich themes and, because these are instrumentals, one does not have to be religious at all to enjoy the music. The melodies often reflect her classical training, the explorations are inventive (particularly those of Alessi), and the interplay between trumpet, guitar and piano often blurs the lines between solos and ensembles, composition and improvisation.

In Italian:

Yelena Eckemoff, nata in Russia e residente nella Carolina del Nord, si è convertita al cristianesimo mentre viveva ancora a Mosca. Da tempo si interessa di mettere in musica versetti del Libro dei Salmi della Bibbia, componendo brani jazz originali che in alcuni casi sono ricostruzioni musicali parola per parola. Nel 2018, ha registrato molte di queste composizioni su Better Than Gold In Silver, un set che conteneva sia brani vocali che strumentali.

I due CD I Am A Stranger In This World, che è strettamente strumentale, include tre selezioni che erano state lasciate fuori dal set precedente per mancanza di spazio: il taglio del titolo, “Like Rain Upon The Mown Grass” e “Every Beast Del Campo.” Queste esibizioni affiancano il pianista-compositore al trombettista Ralph Alessi, al violinista Christian Howes, al chitarrista Ben Monder, al bassista Drew Gress e al batterista Joey Baron. Le altre sei tracce sono state registratieal culmine della pandemia nel dicembre 2020 e hanno la Eckemoff è stata affiancata da Alessi, Gress, il chitarrista Adam Rogers e il batterista Nasheet Waits.

Gli originali della Eckemoff sono pieni di temi ricchi e, poiché si tratta di strumenti strumentali, non è necessario essere affatto religiosi per godersi la musica. Le melodie riflettono spesso la sua formazione classica, le esplorazioni sono fantasiose (in particolare quelle di Alessi) e l’interazione tra tromba, chitarra e pianoforte spesso offusca i confini tra assoli e ensemble, composizione e improvvisazione.

di Scott Yanow

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Scott Yanow for Downbeat

Everblue Downbeat, Scott Yanow

Born in Moscow, pianist Yelena Eckemoff received extensive classical training, took time off to raise a family and eventually became interested in playing jazz, especially after she moved to the United States in 1991. Her 2010 trio set, Cold Sun, included drummer Peter Erskine and won her some national attention.

Listening to Everblue, it is difficult not to think of the ECM label and the type of music that the company released in its early years. Like on many ECM recordings, Eckemoff’s music blurs the line between melody and improvisation, and between individual solos and ensemble interplay. The music sets an introspective atmosphere rather than introducing catchy themes and passionate individual heroics.

The pianist utilizes two members of Jan Garbarek’s quartet of the 1970s-bassist Arild Andersen and drummer Jon Christensen-who excel at playing this type of atmospheric music. Tenor saxophonist Tore Brunborg emphasizes long tones and quiet, emotional playing, just as Garbarek has throughout his career. The quartet performs eight originals by the pianist along with two by Andersen. None of the individual pieces stand out by themselves, instead serving as a type of suite that segues easily from one performance to the next. Only “Man” has a bit of heat, but otherwise the music’s passion bubbles beneath the surface.