Winner of the Parliamentary Jazz Award for Best Media, 2019

by Ian Mann

September 12, 2016

/ ALBUM

In many respects “Snowmelt” represents a towering achievement, it's obviously a labour of love and its synthesis of jazz, folk and contemporary classical music forms is undeniably impressive.

Marius Neset & London Sinfonietta

“Snowmelt”

(ACT Records 9035-2)

The Norwegian saxophonist and composer Marius Neset first burst into the consciousnesses of UK jazz audiences in 2011 with the release of the suitably combustible “Golden Xplosion”, his début release for the Edition Record label. The album revealed Neset to be not only a highly talented instrumentalist with technique to burn but also a hugely gifted and remarkably ambitious composer with a thorough and precocious command of the jazz, folk and classical traditions. He was only twenty five years of age when the album was released and first impressions were that Neset was something of a star in the making. His subsequent career has continued to confirm this opinion.

Neset has always worked with a core quartet but “Birds” (2013) his second album for Edition saw the addition of several guests as Neset’s writing became even more ambitious and ‘orchestral’.
This aspect of his composing found full expression following a move to the German label ACT and the release of “Lion” (2014), a recording of music originally commissioned for the 2012 Molde Jazz Festival made with the Trondheim Jazz Orchestra.

He retrenched a little for “Pinball” (2015) which featured a quintet including British vibraphonist Jim Hart plus a number of guest musicians plating violin, cello and flute. It may have been a smaller ensemble but there was no denying the ambition of the writing and the brilliance of the playing. “Pinball” was arguably Neset’s finest album thus far.

He’s also revealed himself to be a consistently excellent live performer and I’ve been fortunate enough to witness Neset playing live at a variety of UK venues over the years including a number of festival appearances. Most of these were with a quartet or quintet but perhaps the most distinctive was the all acoustic duo performance with tuba player Daniel Herskedal at Dempsey’s in Cardiff which saw the pair playing music from their Edition Records album “Neck Of The Woods”.

For his latest ACT offering Neset spreads his compositional wings once more on a project that sees him bringing his jazz and classical leanings together on a highly ambitious recording that teams his core quartet with the members of the London Sinfonietta conducted by Geoffrey Paterson.

The seeds of the “Snowmelt” project were sown in 2013 when Neset was commissioned by the Oslo Sinfonietta to write a fifteen minute piece for solo saxophone, chamber orchestra and five voices. The success of this encouraged Neset to work on a more ambitious project involving a larger body of strings plus the presence of his own group to give the music the rhythmic impetus necessary to keep it within the realms of jazz.

Following previous collaborations with Jaga Jazzist and Squarepusher the London Sinfonietta proved to be the ideal chamber orchestra to express Neset’s vision. “Snowmelt” explores the themes of order of chaos and is a highly complex and ambitious work with no less than 239 pages of orchestral score. He cites the influence of Mahler, Stravinsky and Berg on his composing and includes elements of their compositional styles in the performances.

Neset deploys his regular working group on the album including Petter Eldh on double bass and the Phronesis pair of Anton Eger on drums and Ivo Neame on the piano. Eger assisted Neset with the planning of the album and also shares co-production credits with the saxophonist. Neset has spoken of Eldh and Neame as being players who require more freedom - “I want surprises” he states “and what they do gives me the impetus to create”.

Meanwhile the London Sinfonietta lines up as follows;

Geoffrey Paterson – conductor
Karen Jones – flute, piccolo
Gareth Hulse – oboe
Michael Wright – clarinet, bass clarinet
John Orford – bassoon
Michael Thompson – horn
Torbjorn Hultmark – trumpet
Byron Fulcher – trombone
Jonathan Morton (principal), Miranda Fulleylove, Elizabeth Wexler – first violins
Joan Atherton (principal), Hilaryjane Parker, Charlotte Reid – second violins
Roger Chase, Zoe Matthews, Richard Walters – violas
Tim Gill, Adrian Bradbury – cellos
Markus van Horn – contrabass

The album commences with “Prologue”, a stunning two minute soprano sax episode with Neset’s keening horn emitting the kind of almost human ‘cry’ associated with his fellow countryman Jan Garbarek. It’s an unavoidable comparison and one that I’m almost loath to make, for Neset is very much his own man and not even Garbarek, despite his many ‘crossover’ successes, has tackled a project on quite this scale.

“Prologue” segues almost seamlessly into the first movement of “Arches of Nature”,  a seven part suite that demonstrates Neset’s skills as both a player and an orchestrator. “Arches of Nature:Sirens” introduces the strings and woodwinds of the Sinfonietta with Neset subsequently blending them expertly with the instruments of the jazz quartet, notably Eger’s busy drums.

Following this brief first movement it’s Eldh’s vigorously plucked double bass that introduces “Arches of Nature:Acrobatics”.  Eger and Neame subsequently latch on to his energetic grooves while Neset, on rumbustious tenor, acts out the role of the ‘daring young man on the flying trapeze’ in a series of thrilling aerial jousts with members of the Sinfonietta, notably the astonishingly agile bassoonist John Orford.

Introduced by Torbjorn Hultmark’s trumpet fanfare and featuring Eger’s skittering drum grooves “Arches of Nature:Circles”  at first seems to represent something of a continuation but the warmer sounds of strings and woodwinds subsequently take over on a richly orchestrated piece that is sometimes reminiscent of a movie soundtrack.

The fleeting “Arches of Nature:Caves” introduces an edgier jazz quartet groove and features Neset’s tenor navigating a jagged path through the densely written orchestration.

This segues, via Neame’s piano, into the more ruminative “Arches of Nature:Paradise”  which serves as something of a feature for the pianist as Neame enters into thoughtful, fruitful dialogue with Neset’s tenor prior to soloing lyrically above an orchestral backdrop. However this is one of the lengthiest movements of the suite and as it develops it acquires a bristling energy, first established by Neame’s insistent left hand figures and morphing into Neset’s vigorous saxophone counterpoint against a backdrop of alternately lush / spiky orchestration.

The string laden “Arches of Nature:Rainbows”  thenrestores the element of lyrical romanticism with Neset on Getz-ian style tenor.

The low register purr of Orford’s bassoon leads the way into the closing “Arches of Nature; Pyramiden”, a busy piece featuring genuine interaction between the jazz quartet and the Sinfonietta in an audaciously dense arrangement that builds inexorably to a climax.     

Although the suite itself is complete “The Storm Is Over” almost feels like a continuation of the work, its pensive, dark hued brooding initially feeling like the perfect comedown after the fireworks of “Pyramiden”. But the piece, a major work in its own right, subsequently takes on an identity of its own as Neset’s tenor takes majestic flight above the widescreen orchestration. It could be film soundtrack time once again as the composition moves through a series of distinct phases before coming to an almost subliminal conclusion.

“Introduction to Snowmelt” is another astonishing display of solo saxophone, this time with Neset playing tenor on a richly atmospheric performance that includes some audacious multi-phonics, these paving for the way for “Snowmelt” itself with its arresting folk melodies, bustling quartet grooves and dramatic orchestrations. Neset’s quartet bring an irrepressible energy to the music and there’s a lively piano solo from Neame fuelled by Eldh’s odd meter but propulsive bass pulse and Eger’s characteristically busy, skittering grooves. But Neset also involves the Sinfonietta and ultimately the level of integration between quartet and orchestra is impressive as Neset’s tenor soars high above the teeming musical maelstrom that he has created. After peaking the piece resolves itself more gently with Neset’s piping soprano playing folk tinged melodies above a softer orchestral backdrop as the album ends in a similar manner to which it began.

Neset may bookend the album by playing in a quintessentially ‘Nordic’ manner but there’s so much more to his music than that. His saxophone playing is inspired as much by Americans such as the late Michael Brecker as it is by Garbarek and that influence is readily apparent throughout all of his albums, including this one.

But Neset also draws from other types of music, particularly classical and folk, and all of these elements are here in this richly inventive music. Each of his recordings has seen him stretching out and challenging himself, developing his sound and his compositional and arranging skills. His ambition has, for now, reached its apex with “Snowmelt”, a recording that has generally been well received by the jazz media and public alike. It is to Neset’s credit that he’s been able develop his audience while releasing increasingly ambitious and complex recordings, a process that has been greatly aided by the exciting quality of his live performances.

However in reviewing the album for the Guardian John Fordham did make the point that “Snowmelt” as an album is almost too busy for its own good and that some of Neset’s more memorable melodic motifs are swallowed up by the complexity of the music before they’ve had the opportunity to be fully developed. He has a valid point, “Snowmelt” is a tiring if rewarding listen, and if I’m honest I’m more likely to find my way back to Neset’s small group recordings for my personal listening pleasure.

But I’m still full of admiration for Neset’s efforts. Marius Neset & London Sinfonietta

“Snowmelt”

(ACT Records 9035-2)

The Norwegian saxophonist and composer Marius Neset first burst into the consciousnesses of UK jazz audiences in 2011 with the release of the suitably combustible “Golden Xplosion”, his début release for the Edition Record label. The album revealed Neset to be not only a highly talented instrumentalist with technique to burn but also a hugely gifted and remarkably ambitious composer with a thorough and precocious command of the jazz, folk and classical traditions. He was only twenty five years of age when the album was released and first impressions were that Neset was something of a star in the making. His subsequent career has continued to confirm this opinion.

Neset has always worked with a core quartet but “Birds” (2013) his second album for Edition saw the addition of several guests as Neset’s writing became even more ambitious and ‘orchestral’.
This aspect of his composing found full expression following a move to the German label ACT and the release of “Lion” (2014), a recording of music originally commissioned for the 2012 Molde Jazz Festival made with the Trondheim Jazz Orchestra.

He retrenched a little for “Pinball” (2015) which featured a quintet including British vibraphonist Jim Hart plus a number of guest musicians plating violin, cello and flute. It may have been a smaller ensemble but there was no denying the ambition of the writing and the brilliance of the playing. “Pinball” was arguably Neset’s finest album thus far.

He’s also revealed himself to be a consistently excellent live performer and I’ve been fortunate enough to witness Neset playing live at a variety of UK venues over the years including a number of festival appearances. Most of these were with a quartet or quintet but perhaps the most distinctive was the all acoustic duo performance with tuba player Daniel Herskedal at Dempsey’s in Cardiff which saw the pair playing music from their Edition Records album “Neck Of The Woods”.

For his latest ACT offering Neset spreads his compositional wings once more on a project that sees him bringing his jazz and classical leanings together on a highly ambitious recording that teams his core quartet with the members of the London Sinfonietta conducted by Geoffrey Paterson.

The seeds of the “Snowmelt” project were sown in 2013 when Neset was commissioned by the Oslo Sinfonietta to write a fifteen minute piece for solo saxophone, chamber orchestra and five voices. The success of this encouraged Neset to work on a more ambitious project involving a larger body of strings plus the presence of his own group to give the music the rhythmic impetus necessary to keep it within the realms of jazz.

Following previous collaborations with Jaga Jazzist and Squarepusher the London Sinfonietta proved to be the ideal chamber orchestra to express Neset’s vision. “Snowmelt” explores the themes of order of chaos and is a highly complex and ambitious work with no less than 239 pages of orchestral score. He cites the influence of Mahler, Stravinsky and Berg on his composing and includes elements of their compositional styles in the performances.

Neset deploys his regular working group on the album including Petter Eldh on double bass and the Phronesis pair of Anton Eger on drums and Ivo Neame on the piano. Eger assisted Neset with the planning of the album and also shares co-production credits with the saxophonist. Neset has spoken of Eldh and Neame as being players who require more freedom - “I want surprises” he states “and what they do gives me the impetus to create”.

Meanwhile the London Sinfonietta lines up as follows;

Geoffrey Paterson – conductor
Karen Jones – flute, piccolo
Gareth Hulse – oboe
Michael Wright – clarinet, bass clarinet
John Orford – bassoon
Michael Thompson – horn
Torbjorn Hultmark – trumpet
Byron Fulcher – trombone
Jonathan Morton (principal), Miranda Fulleylove, Elizabeth Wexler – first violins
Joan Atherton (principal), Hilaryjane Parker, Charlotte Reid – second violins
Roger Chase, Zoe Matthews, Richard Walters – violas
Tim Gill, Adrian Bradbury – cellos
Markus van Horn – contrabass

The album commences with “Prologue”, a stunning two minute soprano sax episode with Neset’s keening horn emitting the kind of almost human ‘cry’ associated with his fellow countryman Jan Garbarek. It’s an unavoidable comparison and one that I’m almost loath to make, for Neset is very much his own man and not even Garbarek, despite his many ‘crossover’ successes, has tackled a project on quite this scale.

“Prologue” segues almost seamlessly into the first movement of “Arches of Nature”,  a seven part suite that demonstrates Neset’s skills as both a player and an orchestrator. “Arches of Nature:Sirens” introduces the strings and woodwinds of the Sinfonietta with Neset subsequently blending them expertly with the instruments of the jazz quartet, notably Eger’s busy drums.

Following this brief first movement it’s Eldh’s vigorously plucked double bass that introduces “Arches of Nature:Acrobatics”.  Eger and Neame subsequently latch on to his energetic grooves while Neset, on rumbustious tenor, acts out the role of the ‘daring young man on the flying trapeze’ in a series of thrilling aerial jousts with members of the Sinfonietta, notably the astonishingly agile bassoonist John Orford.

Introduced by Torbjorn Hultmark’s trumpet fanfare and featuring Eger’s skittering drum grooves “Arches of Nature:Circles”  at first seems to represent something of a continuation but the warmer sounds of strings and woodwinds subsequently take over on a richly orchestrated piece that is sometimes reminiscent of a movie soundtrack.

The fleeting “Arches of Nature:Caves” introduces an edgier jazz quartet groove and features Neset’s tenor navigating a jagged path through the densely written orchestration.

This segues, via Neame’s piano, into the more ruminative “Arches of Nature:Paradise”  which serves as something of a feature for the pianist as Neame enters into thoughtful, fruitful dialogue with Neset’s tenor prior to soloing lyrically above an orchestral backdrop. However this is one of the lengthiest movements of the suite and as it develops it acquires a bristling energy, first established by Neame’s insistent left hand figures and morphing into Neset’s vigorous saxophone counterpoint against a backdrop of alternately lush / spiky orchestration.

The string laden “Arches of Nature:Rainbows”  thenrestores the element of lyrical romanticism with Neset on Getz-ian style tenor.

The low register purr of Orford’s bassoon leads the way into the closing “Arches of Nature; Pyramiden”, a busy piece featuring genuine interaction between the jazz quartet and the Sinfonietta in an audaciously dense arrangement that builds inexorably to a climax.     

Although the suite itself is complete “The Storm Is Over” almost feels like a continuation of the work, its pensive, dark hued brooding initially feeling like the perfect comedown after the fireworks of “Pyramiden”. But the piece, a major work in its own right, subsequently takes on an identity of its own as Neset’s tenor takes majestic flight above the widescreen orchestration. It could be film soundtrack time once again as the composition moves through a series of distinct phases before coming to an almost subliminal conclusion.

“Introduction to Snowmelt” is another astonishing display of solo saxophone, this time with Neset playing tenor on a richly atmospheric performance that includes some audacious multi-phonics, these paving for the way for “Snowmelt” itself with its arresting folk melodies, bustling quartet grooves and dramatic orchestrations. Neset’s quartet bring an irrepressible energy to the music and there’s a lively piano solo from Neame fuelled by Eldh’s odd meter but propulsive bass pulse and Eger’s characteristically busy, skittering grooves. But Neset also involves the Sinfonietta and ultimately the level of integration between quartet and orchestra is impressive as Neset’s tenor soars high above the teeming musical maelstrom that he has created. After peaking the piece resolves itself more gently with Neset’s piping soprano playing folk tinged melodies above a softer orchestral backdrop as the album ends in a similar manner to which it began.

Neset may bookend the album by playing in a quintessentially ‘Nordic’ manner but there’s so much more to his music than that. His saxophone playing is inspired as much by Americans such as the late Michael Brecker as it is by Garbarek and that influence is readily apparent throughout all of his albums, including this one.

But Neset also draws from other types of music, particularly classical and folk, and all of these elements are here in this richly inventive music. Each of his recordings has seen him stretching out and challenging himself, developing his sound and his compositional and arranging skills. His ambition has, for now, reached its apex with “Snowmelt”, a recording that has generally been well received by the jazz media and public alike. It is to Neset’s credit that he’s been able develop his audience while releasing increasingly ambitious and complex recordings, a process that has been greatly aided by the exciting quality of his live performances.

However in reviewing the album for the Guardian John Fordham did make the point that “Snowmelt” as an album is almost too busy for its own good and that some of Neset’s more memorable melodic motifs are swallowed up by the complexity of the music before they’ve had the opportunity to be fully developed. He has a valid point, “Snowmelt” is a tiring if rewarding listen, and if I’m honest I’m more likely to find my way back to Neset’s small group recordings for my personal listening pleasure.

But I’m still full of admiration for Neset’s efforts. In many respects “Snowmelt” represents a towering achievement, it’s obviously a labour of love and its synthesis of jazz, folk and contemporary classical music forms is undeniably impressive.

There is doubtless much more to come from Marius Neset, a musician whose ambition, vision and spirit of adventure is something to be nurtured and cherished. 
There is doubtless much more to come from Marius Neset, a musician whose ambition, vision and spirit of adventure is something to be nurtured and cherished.

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