Artist: Nils Økland Band
Album: Gjenskinn
Genre: Avant-Garde Jazz, Modern Creative
Label: Hubro
Released: 2024
Quality: FLAC (tracks+.cue)
Tracklist:
- Minimalvals (3:00)
- Framover (5:39)
- Svevn (3:16)
- Kairo (4:51)
- Lys (2:42)
- Morgenkvist (6:05)
- Kraft (2:38)
- Gjenskinn (3:44)
- Tilley Plump (5:36)
- Silhuett (3:12)
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- Personnel:
- Nils Okland - Hardangerfiddles, violin
- Rolf-Erik Nystrom - alto saxophone, baritone saxophone
- Sigbjorn Apeland - harmonium, Fender Rhodes
- Hakon Morch Stene - percussion, vibraphone, electronics
- Mats Eilertsen - double bass
Norwegian Nils Økland is known for his versatility in exploring various musical styles and string instruments. He is renowned for his virtuosity on the Hardanger fiddle, a Norwegian violin with eight or nine strings. His style often incorporates elements of Nordic traditional music, classical, jazz, and world music, creating a unique blend of original and unusual sounds. Økland has been playing with his namesake band for a decade, and they have released their third album, Gjenskinn, another wide-ranging collection of innovative and experimental music.
The Økland quintet includes saxophonist Rolf-Erik Nystrøm, Sigbjorn Apeland on harmonium, percussionist Håkon Stene on percussion, and bassist Mats Eilertsen. Eilertsen and Apeland may be familiar to regular ECM label listeners. The roster is unchanged from the two previous releases, Kjølvatn (ECM, 2015) and Lysning (Hubro, 2017).
The album features musical inspirations and melodies from the band's touring dates. "Kairo" is the most fascinating piece on Gjenskinn. Master Egyptian flutist Ahmed El Arnab taught the piece to Økland when the group performed in the Egyptian capital. Its Middle Eastern flavor is powerful. "Framover" exemplifies Økland's talent for seamless amalgamation. There is a trance sequence and more Middle Eastern suggestions, but then the band walks the piece to a Celtic reel before moving on to jazz. "Tilley Plump" is derived from a traditional Norwegian fiddle tune, and the band cinematically shifts the piece from barn dance to a psychedelic experience and back. Standing in contrast to Økland's other nine compositions on Gjenskinn is "Kraft," knotty and abrasive in places but still at home in this collection.
Though deeply influenced by Norwegian folk music, Økland continues to primarily perform his own works, which draw from a diverse range of styles and genres. His band performs impressively, whether executing with precision or free improvisation, as they convey an array of feelings in subtle distinctions. Gjenskinn, is full of dazzlingly conceived ideas that Økland holds together with his distinctive composing and playing.
Review by Karl Ackermann