|Photo: Dave Stapleton|
Freya is the goddess of creation, love, and fertility. The title track has a lively melody pushed forward by the lively work of Weiss and Brewer (electric bass). One fo the hallmarks of the entire program is how "open" the rhythms are; the drummer is free to move around while the bassist often the foundation. Yet there are times, especially on "Aspasia and Pericles", the two respond to the soloists and the music floats. Aspasia was Pericles's partner in all things but marriage as she was not born in Athens. Listen to the interactions on this piece as all five musicians are having a conversation through the second half of the song. "Geri's Print" is dedicated to the late pianist Geri Allen whom Ms. Postma and recorded and performed with. Again the interactions of soprano sax and trumpet are exhilarating while Ms. Davis's piano displays her originality, in fact her biggest tribute to Ms. Allen is just being herself as the late pianist was throughout her career.
|Photo: Dave Stapleton|
"Freya" also includes two short "Interludes", a pair of gives-and-takes of trumpet and soprano saxes.The first is comprised of short phrases that lead to longer tones by the end of its 84-second run. "#2" is 10 seconds shorter, a bit more introspective but still a conversation. The piece closes there album on an up note leaving the listener expecting and wanting more.
Tineke Postma makes us pay attention, makes us hear those mysterious spaces where composition and improvisation are blurred as well as what occurs when musicians are allowed to interact freely and respectfully. "Freya" is an album one can listen to two, three, four, times back-to-back and discover something new with each listen.
For more information, go to www.tinekepostma.com. To listen and purchase the album, go to https://tinekepostma.bandcamp.com/album/freya.
Listen to the musical story of "Aspasia and Pericles":
It was the fun, the enjoyment, the playfulness and lightness that was so beautiful and which nature displayed so naturally, that made me feel that I really ought to celebrate those sides of life more than I have previously done in my music." And, you can hear the effects of her experience throughout the 49-minute program. Listen to the title track below to hear her playful musical take on that run through the fields. As an added experience, Ms. Iversen later discovered a poem from Günter Grass from his 1967 collection "Augesfraght" (Questioned Out) titled "Tour de France" that reads: "When the leading bunch/ were overtaken/ by a brimstone butterfly/ many cyclists gave up the race."
Among the many highlights is the two-part "Parallel Flying" that runs over 11 minutes altogether. "Part 1" is a lovely, introspective, ballad rumination while "Part 2" hits the ground running after the melodic piano opening. Brown III and Ms. Iversen lock into the high-flying groove giving the front line a strong foundation to create three dancing solos. Later in the program is the short (69 seconds) "Butterfly Interlude" that displays the drummer's delightful cymbal and snare work and leads in to the delightful "Dancing Butterflies" – Ellis's soprano sax dips and swirls around the piano lines as the drums acts as the breeze pushing him forward. Grissett's solo is also quite joyous, floating along, flirting with the rhythm section, having the time of his life. The bluesy, hard-driving, "Cluster", kicks hard featuring strong solos from Ellis (tenor sax), Dahlgren, and muscular romp from Brown III.
|Photo: Dieter Duvelmeyer|
Fir more information, go to www.annemetteiversen.com. To listen and purchase the album, go to https://annemetteiversen.bandcamp.com/album/racing-a-butterfly.
Listen to the title track:
popular in her native land, and psychologist Carl Jung (1875-1961), especially hs theory of "animus" (the personification of male tendencies in a woman).
For more information, go to www.endectomorph.com/metamorphosis.html. To hear more and/or purchase the album, go to https://hayounglyou.bandcamp.com/releases.
Here's the title track: