Trumpeter Nils Petter Molvaerr is a key player on the Norwegian Nu Jazz scene. In 1997 he broke out with a solo effort, Khmer, which incorporated elements of electronica, and 2010’s Hamada presents an appealing set of ambient jazz infused with electronic elements. The album opens with “Exhumation,” a breathy solo trumpet rendering of a lovely melody. On “Sabkah” Molvaerr is joined by the album’s guitarist, Eivind Aarset, who adds dreamy, reverb-drenched tones, creating a sound that recalls composer Angelo Badalamenti’s work with film director David Lynch. Bassist Audun Erlien and drummer Audun Klieve appear on “Friction” and “Cruel Attitude,” a pair of cuts that stand out in this low-key context. The former piece sounds like a fusion of Jon Hassell Fourth World-stylings and agitated, Miles Davis funk-rock, while the latter features scrunchy metal guitar and power drumming. Jan Bang adds live sampling and field recordings on a number of cuts, including the closer, “Anticline,” an exquisite collage of sonic wisps and other subtleties.
Nils Petter Molvaer Hamada
Trumpeter Nils Petter Molvaerr is a key player on the Norwegian Nu Jazz scene. In 1997 he broke out with a solo effort, Khmer, which incorporated elements of electronica, and 2010’s Hamada presents an appealing set of ambient jazz infused with electronic elements.
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The album opens with “Exhumation,” a breathy solo trumpet rendering of a lovely melody. On “Sabkah” Molvaerr is joined by the album’s guitarist, Eivind Aarset, who adds dreamy, reverb-drenched tones, creating a sound that recalls composer Angelo Badalamenti’s work with film director David Lynch. Bassist Audun Erlien and drummer Audun Klieve appear on “Friction” and “Cruel Attitude,” a pair of cuts that stand out in this low-key context. The former piece sounds like a fusion of Jon Hassell Fourth World-stylings and agitated, Miles Davis funk-rock, while the latter features scrunchy metal guitar and power drumming. Jan Bang adds live sampling and field recordings on a number of cuts, including the closer, “Anticline,” an exquisite collage of sonic wisps and other subtleties.
Possibly the most unusual entry in ECM's deep and storied catalog. The label (or Edition Of Contemporary Music) is best known for contemporary jazz works from prominent players like Keith Jarrett, and, or influential minimalist composers like. With this kind of pedigree, and a motto like ' the Most Beautiful Sound Next to Silence,' drum N' bass or downtempo breakbeats were probably the last thing I would have expected to hear coming from an ECM record - but then again, this was the late 90's and anything was possible. Enter Khmer, Nils Petter Molvaer's second album for ECM (his third overall). Here the Norwegian trumpeter broke traditional expectations and delivered an experimental full length that fused jazz and electronica, replete with samples, breakbeats, talkbox(!) and the aforementioned drum N' bass moments - something that was completely fresh for 1997, and unexpected especially for ECM. Even better, it's done really well (check the moody title track, the chunky downbeat funk of 'Access / Song Of Sand I,' or the laidback Mo'Wax vibes of 'Platonic Years'). Given the recent resurgence of downtempo and chill-out (and everything 90's for that matter), the album has aged surprisingly well, making this first ever vinyl pressing all the more welcome.
Fans of, Toshinori Kondo, etc. Should definitely check. 8 tracks in all, recommended. 1st vinyl pressing, previously CD-only. music label: ECM 2019reviewed by Metreon Garage 06/2019.