Norwegian singer Solveig Slettahjell has attracted a great deal of critical approval and rightly so. This is one of the most assured and beautiful vocal performances I have heard in a long while. Slettahjell approaches the role of the jazz singer from a uniquely European perspective. “Good Rain” evokes images of her native Norway with folk melodies and sparse but imaginative arrangements that frame her voice perfectly and make maximum use of space.

Slettahjell’s debut for ACT “Silver” (2004) saw her applying her distinctive “slow motion” approach to a collection of standards and pop tunes, mutating them by slowing things down and elongating the notes to achieve the maximum emotional impact. The unorthodox style of her accompanists only served to heighten this effect.

The following year “Pixiedust” saw Slettahjell and her quintet refining this approach with a far greater reliance on original material.

The latest album “Good Rain” is written almost entirely by members of the quintet. The only standard is a brief, comparatively straight ahead version of Johnny Mercer’s “P.S. I Love You” which closes the album. Other outside material includes the spiritual “Do Lord”, which, sung unaccompanied emphasises the purity of Slettahjell’s voice. Long time associate Peder Kjellsby provides the beautifully wistful title track.

The rest of the album sees the group members establishing themselves as quality songwriters. There are some glorious tunes that take in a number of influences from jazz and folk to pop and even blues. Slettahjell, keyboard player Morten Qvenild and trumpeter Sjur Miljeteig divide the song writing duties between them. First impressions of the lyrics are that they surpass those of many writers who speak English as their mother tongue. The words reveal an affinity with nature and have an air of romantic spirituality about them. There are songs about relationships but the lyrics largely avoid the usual clichés. Elsewhere the words never descend into the woolly and over earnest preaching of some contemporary jazz composers. The lyrics are well served by Slettahjell’s perfect enunciation and pure delivery and her unique way of getting inside a song.

Slettahjell is keen to emphasise that the Slow Motion Quintet is very much a co-operative unit with a group identity and not just her backing band. This is borne out by the fact that the group sound is fundamental to the album’s success. The group eschew the jazz clichés completely and incorporate tasteful electronic elements into their arrangements that seem to owe something to the “trip hop” sounds purveyed by the likes of Portishead.

Qvenild’s unusual keyboard colours and textures are at the heart of the group’s sound whilst Miljeteig’s mournful trumpet sound comes from Miles Davis via Nils Petter Molvaer. Per Oddvar Johansen’s understated drumming and electronic embellishments add another distinctive element and Mat’s Eilertson’s supple bass holds it all together. There is no soloing in the normal “jazz” manner; the group is more concerned with mood and texture than in mere virtuosity. Everything is done to serve the singer and, more importantly, the songs.

The whole is greater than the sum of its parts and the otherworldly sound the group produce offsets Sleetahjell’s voice perfectly. The overall result is something unique creating a an ethereal, fragile and reflective mood that pervades the whole album, even on up tempo numbers like Miljeteig’s blues influenced “Don’t Look Back”.

The opening “Where Do You Run To"by Slettahjell and Qvenild sets the tone for the album, the beautiful folk inspired melody adorned by Slettahjell’s wistful vocal and the eclectic and atmospheric playing of the group.

“Another Day” is a delightfully skewed pop/jazz song featuring Slettahjell’s rueful vocal and Eilertsen’s liquid electric bass.

Slettahjell’s brief and gentle “Colour Lullabye” is full of fragile beauty. Its “I Can Sing a Rainbow” for grown-ups.

Qvenild’s “Flawless” sustains the mood but Miljeteig’s “We Were Indians” with its uplifting chorus reveals a clear pop influence.

“My Oh My” also by Miljeteig is desolate and hauntingly beautiful in equal measure. It is perhaps the quintessential example of the “Slow Motion” approach.

However a shift in tempo midway through the song infuses a ray of hope.

“The Moon” sees Qvenild setting the words of Emily Dickinson to music in an arrangement that features gospel influences but still retains the quintet’s signature melancholy sound.

This is a remarkable album. The quintet have created a musical landscape that is theirs and theirs alone and sustain the unique mood throughout the album. As a singer Sletathjell is technically perfect but her clear, pure voice, combined with the unique arrangements has an enormous emotional impact. Regret, loss, hope and longing- it’s all there on the most distinctive “jazz” vocal performance I’ve heard for a long time.

However this is music that transcends boundaries. Slettahjell’s music is likely to have a wide appeal. She has been featured on Radio 3’s influential “Late Junction” and “Good Rain” has been given a four star review in the latest issue of Mojo magazine alongside the mainstream rock releases- rather than being marginalized in their jazz section.

Slettahjell is likely to appeal to fans of Bjork. Although not as self consciously quirky as the Icelander there are definite similarities in Slettahjell’s approach and both seem to share a certain other worldliness. Fans of Kate Bush and Tory Amos may enjoy Slettahjell too. She should also appeal to listeners familiar with British singer Julia Biel and her album “Not Alone” which is also into the blurring of musical boundaries.

As someone with an aversion to the hordes of identikit jazz singers on the musical horizon it’s wonderful to hear something so fresh and different. So in a world first I’m going to give five stars to a singer, bearing in mind that as Solveig herself would undoubtedly tell you, that “Good Rain” is actually a remarkable group effort.

blog comments powered by Disqus