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Trøen/Arnesen Quartet, Ole Marius Sandberg, Sigurd Steinkopf, Elisabeth Lid Trøen, Dag Arnesen

Post-bop meets free jazz on the rumbling "Partysvensken," which finds a vivid melodic figure on saxophone contrasted by rumbling drums and dark piano clusters in a deconstructed middle-section...

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Trøen/Arnesen Quartet, Ole Marius Sandberg, Sigurd Steinkopf, Elisabeth Lid Trøen, Dag Arnesen

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Post-bop meets free jazz on the rumbling "Partysvensken," which finds a vivid melodic figure on saxophone contrasted by rumbling drums and dark piano clusters in a deconstructed middle-section...

About

It's not uncommon in improvisational music to see the melody primarily as a point of departure for musicians' solos. But obviously, melodies have a power of their own and playing them and letting them shine in their own right takes skill; skills that are abundant in this incredible quartet co-led by Norwegian saxophonist and composer Elisabeth Lid Troenand and pianist Dag Arnesen.

Featuring all original composition, eight by pianist Arnesen and two by Troen, the overall impression is of songs that sound familiar and where melodic development and chords are equal partners, but at the same time establishing contrasting dimensions. Throughout the album, then, we as listeners are given a master-class in melodic thinking.

Elisabeth Lid Troen picked up the saxophone at 16 in 2008, and studied jazz at Voss Jazzskule. By the age of 20, she had already played with musicians Andy Sheppard, Terri Lyne Carrington, Tord Gustavsen, Joshua Redman, and the Bergen Big Band featuring keyboardist and orchestra leader Django Bates.

Personnel: Elisabeth Lid Troen (saxophone, flute), Dag Arnesen (piano), Ole Marius Sandberg (bass), Sigurd Steinkopf (drums)

Contents and tracklist

Awards and reviews

16th June 2021

Post-bop meets free jazz on the rumbling "Partysvensken," which finds a vivid melodic figure on saxophone contrasted by rumbling drums and dark piano clusters in a deconstructed middle-section that bridges the harmonious parts of the song. Trøen switches to flute on most of the ballads, inducing "Just Thinking," "Feline Dreams" and "Interlid" with an ethereal ambience that brings even more color into an already varied program, which elegantly blends a variety of jazz idioms in a homogenous whole.
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