Even within the vast catalogue of ECM releases, there are some albums that declare themselves boldly, and others that unfold with quiet inevitability. ‘Memento’, the first duo recording by Marilyn Crispell and Anders Jormin, truly belongs to the latter category: a beautiful, pastoral and deeply attentive work shaped by space, restraint and trust. […] The hall’s luminous acoustics heighten every overtone and gives space to breath, allowing stillness to function as an equal partner in the music. The album opens with four freely improvised pieces that establishes the natural ambience of the recording. […] Throughout, the emphasis is not on virtuosity but on shared breath and careful listening. […] The album closes with ‘Dragonfly,’ Crispell’s warm tribute to the late Gary Peacock. Rural in tone and hymn-like in simplicity, it provides a gentle, affectionate farewell. ‘Memento’ doesn’t aim for grand statements. Its power lies in nuance, patience and finely judged detail. Elegant and humane, it is a testament to the art of listening – and to the expressive possibilities that emerge when two seasoned improvisers choose understatement over display. A lovely album to lose yourself in.
Mike Gates, UK Vibe
In this quiet soundscape, the duo have developed a common language. This allows their improvisational choices to create a natural spaciousness, permitting piano and bass to ebb and flow with unforced grace. Their subtle interplay carries emotional rather than sonic power. Often sparse and delicately balanced, this eloquent recording encourages the listener to slow down, reflect and reconnect with memory.
Neil Duggan, All About Jazz
A recording that favors introspection and serenity. The musicians’ distinctive language is present in both the improvised and written material, and the music unfolds naturally, organically, and with sensitivity. […] ‘Memento’ unfolds with yearning atmospheres where spontaneity and artistic sensitivity open the door to broader emotional landscapes. Its purely intuitive interplay may not be an everyday listen, yet it occupies a meaningful place within contemporary jazz.
Filipe Freitas, Jazz Trail
The music, and album as a whole is carefully programmed to balance improvisation and composition to the extent that the improvised sound composed and vice versa. The first four pieces heard are all freely created from the beautifully touching ‘For The Children’ with Jormin’s eerily pitched arco playing in the higher registers of the bass and the gently floating melody from the piano. ‘Dialogue’ is just that, a quietly inspired and deeply felt conversation between Crispell’s piano lines and Jormin’s pizzicato bass that is full and warm toned in contrast with ‘Contemplation in D’ when the bassist’s more incisive phrasing and touch are played over sparse accompaniment from the piano. […] Within these remarkable and compact pieces, only two of the eleven tracks exceed the five minute mark the two musicians create a sound world that is full of melody and silence, and it is the space between the notes that make the resulting music so engaging. One can imagine the scene in the recording studio as Crispell and Jormin react to the sound of the room, their respective instruments and each other as they carve out these musical sculptures.
Nick Lea, Jazz Views
Was machen zwei Menschen, die sich gut verstehen, aber selten begegnen, wenn sie sich nach Jahren wieder treffen und Zeit haben? Nun, sie erzählen sich etwas. Die meisten benutzen hierfür Wörter. Marilyn Crispell und Anders Jormin verfügen über einen zusätzlichen Draht: ihre Instrumente, also Klavier und Kontrabass. Und wie es ihre Natur ist: Sie quatschen sich nicht im erzählerischen Egotrip voll. Stattdessen deuten sie an, hören sich zu, vollenden einmal gemachte Ansätze, greifen das Erzählte des Partners auf, denken es weiter, antworten darauf. Die Pausen in dieser Art von musikalischem Zwiegespräch sind dann so wichtig wie die einzelnen Töne. […] Wer sich die Zeit nimmt und mitfühlt, den beginnt die Musik zu berühren, und man wird sich daran erfreuen, wie Kontrabass und Piano ein Thema entwickeln, es hin und herreichen, neue Gedanken hinzubringen und im Spielen und im zögernden Abwarten dicht beisammen sind.
Werner Stiefele, Rondo (Five stars)
In an interesting bit of programming, the album begins with four improvisations before switching to originals by the principals: three by Jormin, four from Crispell, some new, others from earlier albums. This creates both remarkable equality and refreshing equity. The sensation is like moving from a gallery space with finished works to a private studio full of in-process canvasses. The album title is ‘Memento’ but could have been ‘Purity’: That is the overwhelming emotional response to these unadorned, often skeletal vignettes, each depression of a key or swipe of a bow completely without ego or agenda.
Andrey Henkin, Jazz Times
‘Memento’ feels like a quintessential ECM recording — spacious instrumental jazz with a contemplative ambience twinned with crystal clear production. The high quality of music shouldn’t be a surprise when you consider the two experienced players involved — US pianist Marilyn Crispell and Swede Anders Jormin on double bass. Recorded in Lugano’s Auditorio Stelio Molo RSI the set of original tracks apparently ‘circle around ideas of memory and loss.’ ‘For The Children’ is a wonderful opener, it’s lyrical and sombre tone reflecting its inspiration — children caught up in ongoing conflicts such as Gaza, Ukraine and Sudan. The Keith Jarrett-style sonorous closer ‘Dragonfly’ is a tribute to bassist Gary Peacock, while ‘The Beach At Newquay’ is informed by Crispell’s first visit to Cornwall, with Jormin’s high-pitched bowed bass playing mimicking the cries of seagulls.
Ian Sinclair, Morning Star
Un autre album bien dans l’esthétique ECM, mais dont la profondeur, d’une superbe grâce émotionnelle de tous les instants, ne peut que séduire et faire réfléchir l’auditeur. Quand la musique est belle et porteuse d’un message.
Jean-Pierre Goffin, Jazzmania
La colta pianista/compositrice irradia il suo talento, lasciandone emergere soprattutto la componente introspettivo-impressionista, la ponderata fraseologia, i labili equilibri, i sussurri impalpabili. La tensione quasi astratta del contrabbassista/compositore emerge nei tratteggi quasi evanescenti, nella discorsività sempre per accenni, nella dinamica sempre malata. Insieme in Memento offrono una narrazione lieve e apparentemente distaccata, che possiede – consentite – ‘l’insostenibile leggerezza dell’essere’, la cui gravità si insinua negli spiragli delle tessiture degli 11 brani, anche i più brevi capaci di disvelarsi con lentezza. (…) E alla fine dell’ascolto del cd si ha l’impressione di aver sfogliato un diario sonoro, scritto senza fretta, in cui ogni brano è una fotografia emotiva alla ricerca continua di un equilibrio mutevole e di un tempo interiore, mai cronologico.
Raffaele Carabini, Spettakolo
,Memento‘ ist ihr erstes Duoalbum. Kann man fast nicht glauben Denn wie zauberhaft und vertraulich hier die US-Pianistin Marilyn Crispell und der schwedische Kontrabassist Anders Jormin durch ihre Instrumente miteinander kommunizieren, ist doch sehr bemerkenswert. Es sind sehr offene Gespräche, bei dem vieles nur angedeutet ist, vom anderen aufgenommen und weitergestrickt oder kommentiert und beantwortet wird. Viel Raum und viel Zeit lassen sich beide gegenseitig dabei. Und Zeit sollte man sich auch als Hörer dieses intimen, ruhigen Albums nehmen, um es richtig zu erfahren und zu spüren. Die Magie der Konversationen und die Klangbilder, die dieses kongeniale Duo feinfühlig zwischen Improvisiertem und Komponiertem gestaltet.
Christoph Giese, NRW Jazz
