A Year From Easter

Christian Wallumrød Ensemble

CD18,90 out of print
Featured Artists Recorded

September 2004, Rainbow Studio, Oslo

Original Release Date


  • 1Arch Song
    (Christian Wallumrød)
  • 2Eliasong
    (Christian Wallumrød)
  • 3Stompin' At Gagarin
    (Christian Wallumrød)
  • 4Wedding Postponed
    (Christian Wallumrød)
  • 5Psalm
  • 6Unisono
    (Christian Wallumrød)
  • 7Lichtblick
    (Arve Henriksen, Christian Wallumrød, Nils Økland, Per Oddvar Johansen)
  • 8Horseshoe Waltz
    (Christian Wallumrød)
  • 9A Year From Easter
    (Christian Wallumrød)
  • 10Japanese Choral
    (Christian Wallumrød)
  • 11Sketch
    (Nils Økland)
  • 12Eliasong II
    (Christian Wallumrød)
  • 13Neunacht
    (Christian Wallumrød)
  • 14Two Years From Easter
    (Christian Wallumrød)
Absolutely beautiful Scandi-chamber jazz from another great Norwegian outfit. … This is ambient jazz full of small movements and gentle textural changes, but it’s surprisingly robust, with Wallumrød’s piano pleasingly edgy and drummer Ped Oddvar Johansen clattering away to good effect. If you buy one Norwegian jazz album this year, this is the one.
Kerstan Mackness, Time Out London
Here be composition and improv, light and twilight, slow and slower tempos, Scandinavian folk, pre-Baroque harmony, post-Monk jazz, piano, fiddles, drums and Arve Hendriksen’s trumpet, which mostly sounds like a flute. The music proceeds in tiny cadential steps, short-phrased like stopped thought. And while it may not sing, it thinks and feels and sighs.
Nick Coleman, Independent on Sunday
When you hear Okland’s beautiful keening Hardanger Fiddle on the folkish ‘Sketch’ or the flute-like tones that Henriksen draws from his trumpet on the pre-Baroque sounding ‘Eliasong’, it’s evident that this is much more than the sum of a series of diverse and diverting influences. At times beautifully eerie as on ‘Wedding Postponed’ and ‘Horseshoe Waltz’, where soft string and trumpet sounds merge with Johansen’s bizarre percussive noises and Wallumrød’s dissonant chords, this is a record that dare to be different. As close to perfection as you’re likely to hear.
Duncan Heining, Jazzwise
As with Seim’s larger band, the movement of the music is slow and the exploration of small textural and timbral changes is the point. But Wallumrød also likes Keith Jarrett and early Paul Bley, so his angle on ambient sounds has more swing and edge than might be expected. … The soft, breathy hiss of Henriksen’s trumpet against the repeating, perpetual-motion piano figures and the delicate swoops of the violin gradually build a sensitivity that makes the session come to sound like a torrent of restless activity. … Very quiet, but very strong.
John Fordham, The Guardian
A quiet, tranquil yet powerful album from a genuine original with a highly individual musical outlook. Wallumrød deserves a place alongside the late lamented Edward Veasala and the aforementioned Seim in the front rank of recent jazz-inspired innovators.
Chris Parker, Jazzreview
Mit A Year From Easter legt er seinen dritten und höchst gelungenen Versuch vor, neuen Klangvariationen auf die Spur zu kommen. Von großer Luzidität und Leichtigkeit durchdrungen, führt Wallumrød durch ein großes Kaleidoskop skandinavischer Eindrücke und spontaner Ideen. ... Insgesamt empfiehlt sich Wallumrød mit A Year From Easter als ein Konzeptionalist von großer Poesie, der einen besonderen Beitrag zur aktuellen Musik aus seiner deutlich skandinavisch geprägten Sicht leistet.
Hans-Jürgen von Osterhausen, Jazzpodium
Zu drei Improvisatoren, die ansonsten etwa mit der Experimental-Vokalistin Sidsel Endresen oder der Avantgarde-Elektronikband Supersilent arbeiten, gesellt sich ein Folkgeiger, der zugleich auf Alte Musik spezialisiert ist. Er legt flirrende Klänge über Wallumrøds asketische Akkorde, Trompeter Henriksen steuert Einflüsse aus anderen Kulturen bei, der Drummer ist ein Meister “singender” Becken. Musik von höchst eigenwilliger Faszination. Und ohne Vergleich.
Berthold Klostermann, Stereo
The title of this album is an affectionate, if peripheral, salute to John Cage, whose music and philosophy Norwegian pianist Christian Wallumrød appreciates. In 1968, Cage wrote in his book “A Year From Monday” that “we no longer have to lull ourselves expecting the advent of some one artist who will satisfy all our aesthetic needs. There will rather be an increase in the amount and kinds of art which will be both bewildering and productive of joy”. Wallumrød’s Ensemble, embodying this prophecy, occupies a special niche, with music both attractive and hard to pin down. Although three of its members have had complex, interwoven playing histories over the last decade, the ways in which they interact in the Wallumrød group are unprecedented. To note that the quartet features three players from the world of ‘jazz’ and one from the world of ‘folk’ provides little real insight into the group character, focused so well through the medium of Wallumrød’s compositions. They have found a sound of their own outside the idioms. In recognition of the group’s marked originality, and a shared feeling that they are prising open a new space here, the participants have been making this unit a priority, despite a welter of other commitments.