The Source

The Source

Featured Artists Recorded

July 2005, Rainbow Studio, Oslo

  • 1Caballero
    (Øyvind Braekke)
    06:06
  • 2Un Fingo Andalou
    (Trygve Seim)
    07:28
  • 3Libanera
    (Edward Vesala)
    06:12
  • 4Prelude To A Boy
    (Øyvind Braekke)
    06:29
  • 5Tamboura Rasa
    (Per Oddvar Johansen)
    05:51
  • 6Mmball
    (Per Oddvar Johansen)
    05:31
  • 7Osterled
    (Øyvind Braekke)
    06:29
  • 8Life So Far
    (Øyvind Braekke)
    06:44
  • 9Tribute
    (Øyvind Braekke)
    06:31
  • 10Mail Me Or Leave Me
    (Øyvind Braekke)
    05:59
  • 11Alle Bla De Er
    (Øyvind Braekke)
    04:34
  • 12Water Glass Rhapsody
    (Øyvind Braekke)
    03:03
  • 13A Surrender Triptych
    (Øyvind Braekke)
    03:20
This is more explicitly jazzy, with sax/trombone/bass/drums group the Source exploring a lazily animated, free-swing music influenced not only by Garbarek’s ghostly meditations but also by the more urgently quirky lines of Ornette Coleman. Trombonist Oyvind Braekke, a Coleman fan, has a bigger influence on this set than on previous ones, and drummer Per Oddvar Johansen and bassist Mats Eilertsen stir in fluid, restless undercurrents. For Seim stalwarts, however, there a re plenty of long trombone notes, spacey bass figures, whispering sax, cymbal washes and even some perkily assertive swing. This may be the most creative band at the sharp end of the north European scene.
John Fordham, The Guardian
 
Coloured by the urbane, vibrant horn players, saxophonist Trygve Seim and trombonist Oyvind Braekke, the themes on this wistful yet rousing album have a levity and gravity that betrays enviable musical ability and a sharp communicative edge. … Bassist Mats Eilertsen and drummer Per Oddvar Johansen come into their own here bringing a brawn and lightness of touch to proceedings but what The Source really have in their favour is a cohesive ensemble voice accommodating the concrete narrative of song and the more abstract raconteurship of improvisation with admirable aplomb.
Kevin Le Gendre, Echoes
 
The Source play in an economical style that moves confidently between tight composition and looser structures while always retaining a keen sense of melody. Braeke and Seim’s obvious and at times, uncanny understanding aside, one of the group’s great strengths is their variety ranging from melancholic ballad through folksy spiritual to mischievous grooving and more.
Rob Adams, The Herald
 
Ein in jeder Hinsicht herausragendes Klangereignis und für mich eine der besten Produktionen des laufenden Jahres.
Volker Doberstein, Jazzpodium
 
The Source ist an den Quellen des modernen Jazz daheim: bei den brillant verschlungenen Melodien à la Ornette Coleman, beim Puls der M-Base, bei den seit der Free-Revolte frei fließenden Rhythmen und klangmalerischen Improvisationstechniken. Der Saxophonist Trygve Seim und seine drei Partner verschmelzen diese Elemente zu stilvollen Klangbildern.
Werner Stiefele, Audio
 
Durch den Verzicht auf ein Harmonieinstrument bleibt der Gesamtklang bei aller Komplexität des Zusammenspiels bestens durchhörbar. Die nur zweistimmigen Bläsersätze klingen erstaunlich abwechslungsreich und farbig, deuten mal Harmonien an, treffen sich dann im Unisono, aus dem bald wieder eine Stimme ausschert. ... Nach zahlreichen Experimenten und Auftritten mit Dichtern, DJs, Rai-Sängern, Rappern und Eishockey-Spielern (!) vergewissern sich The Source mit der neuen CD ihrer Wurzeln im Jazz, was der Musik äußerst gut bekommt.
Guido Diesing, Jazzthetik
 
Wäre diese Band ein Boxer, man würde seine leichtfüßige Beinarbeit, seine variantenreichen Finten, seinen eleganten Punch preisen. Zart Elegisches und schwungvoll Sanguines wird hier von einem bestens disponierten Ensemble intoniert, bei dem sich niemand in den Vordergrund spielen will und niemand dem anderen im Weg steht.
Klaus Nüchtern, Falter
 
 
 
The second ECM album by Norwegian cooperative group The Source gets back to basics. Since its formation in 1993, when founder-members Trygve Seim, Øyvind Brække and Per Oddvar Johansen were all students at the Trøndelag Conservatory of Music in Trondheim, The Source has been very much a moveable feast, its motto, “No two concerts alike!” The group has embraced the wildest stylistic collisions, working variously with poets and DJs, rai vocalists and rappers, ice hockey players, and conceptual and performance artists. Their collaborators have ranged from rock band Motorpsycho to classical musicians including the Cikada String Quartet (as on their 2000 ECM recording The Source and Different Cikadas). Nonetheless, the overwhelming majority of their performances have been as a quartet, most of their music was written for quartet, and this eponymously titled disc addresses a backlog of much-played material whose appearance on disc is overdue.

The elemental and unembellished Source is a revelation: a sax-trombone-bass-drums band whose collective playing stands up alongside the work of the best exponents of this unusual instrumentation (the New York Art Quartet, for instance, or the Archie Shepp/Roswell Rudd group, or Albert Mangelsdorff’s quartet with Heinz Sauer), while compositionally The Source is in a league of its own. The Source features exceptionally well-crafted material, played with wit and fire and flair, by a band that can be ‘free’ and precise simultaneously. “Not having a chordal instrument in the line-up gives us a lot of room to move, and makes the music much more open,” says Trygve Seim.

On The Source and Different Cikadas and on Trgyve Seim’s albums Different Rivers and Sangam the saxophonist and trombonist Øyvind Brække gave evidence of their growing interest in ‘eastern’ sonorities and sounds inspired by the bansuri flute, the shakuhachi and the duduk, and what Brække has described as “the search for a breathing, minimal, yet warm and spontaneous kind of music.” On the present disc such colours surface especially on drummer Per Oddvar Johansen’s two pieces, “Tamboura Rasa” and “Mmball”, the latter a reprise of a piece heard on The Source and Different Cikadas, rearranged and included at producer Manfred Eicher’s urging.

Yet in total this feels more like a ‘jazz’ disc than its predecessors. Seim agrees: “Most of the material this time is Øyvind’s and, in some ways, he is more ‘jazz’ than I am. And when the group started out, we listened a lot to Ornette Coleman’s (late 60s/early 1970s) quartet with Dewey Redman, that was definitely one of our models, one of our main inspirations, we used to play their songs, and I think some of this recording has an energy related to that .” In the sequence of Brække pieces that comprises the second half of the programme, this feeling is underlined by Mat Eilertsen’s Haden-like bass drive. Eilertsen, a powerful player who has previously appeared on ECM recordings with Jacob Young (Evening Falls) and Thomas Strønen/Bobo Stenson (Parish), and whose own groups have at different times included Brække and Seim, joined the group shortly before the recording of The Source. He replaces Finn Guttormsen, who in turn replaced original bassist Ingebrigt Håker Flaten.

Brække’s “Caballero” which opens the programme is as old as The Source. Now cunningly adapted for quartet, it was originally written in 1993 for a big band project. The “Caballero” of the title is Cervantes’ Quixote, tilting at windmills, and it has an indirect connection also to the Spanish bolero. Seim’s “Un Fingo Andalou” also goes back to the group’s beginnings, and has several inspirational sources, including the Salvador Dali/Luis Buñuel film “Un Chien Andalou”, The Source’s early success at a jazz competition in Bilbao, and Edward Vesala’s adaptations of Finnish tango. None of this explains why Seim’s solo and the melody itself seem to fall into the cadences of Albert Ayler: “I like Ayler, but have never studied him closely. But of course Garbarek loved Ayler and I was strongly influenced by Jan, so that’s likely where that’s coming from.”

Edward Vesala’s conception of the free ballad has also been important for the Source (and many other northern bands). Seim played with the drummer-composer’s last group, and learned the piece “Libanera” from him. He continues to play music from the Vesala camp in the group of Edward’s widow, Iro Haarla (refer to the album Northbound). Vesala is also one of several references embedded in the closing “A Surrender Tryptich”. Øyvind Brække: “We have lots of links to Edward Vesala, and the ‘Tryptich’ title, as well as being descriptive of the three-part form of the piece, also acknowledges the Garbarek/Andersen/Vesala group that played on ‘Triptykon’ – it relates to that musical area.” (The title also makes a philosophical point about ‘surrender’. In the modern world, Braekke says, the concept of “acceptance” gets aired too infrequently. “National and individual interest revolves so much around the idea of attack and defence. But it is possible to try to be happy with what you have in life.”)

The bracing “Life So Far” is described by Øyvind Brække as “a tribute to Keith Jarrett’s ‘Belonging’ band. It also reflects The Source’s ability to play in and out of a loose tempo with a lot of energy.” Brække’s “Østerled”, meanwhile, “is inspired by old Viking roots. It was motivated by a tour to Russia, to Siberia, in 1998. I wrote this piece for that journey and it sounds somehow ‘Russian’ to me. It has that minor tonality and sense of melancholy.” Well-known in the Oslo area as an arranger for big bands, Øyvind Braekke has toured with Chick Corea and the Trondheim Jazz Orchestra as well as The Source and the group Pocket Corner and as freelancer performs in jazz, rock, Latin and free improvised settings. “Mail Me or Leave Me”, “a humorous piece” plays around with “pop bass lines and Latin grooves” derived from these freelance experiences.

Seim has played with a number of great drummers but values none more highly than Per Oddvar Johansen. “Per Oddvar was largely responsible for getting me to listen to the more free varieties of improvisation in the first place, and he’s amazingly responsive as a drummer. I can’t think of another player who works so purely with the music, with what is there, who is so consistently interactive, and who is so little concerned with self-display. He’s the most fascinating drummer I know.

“Øyvind has a similar character in some ways. Only in it for the music, not for his ego. He always makes these great pieces out of small ideas and somehow even the most simple of his compositions is also intricate – there are so many layers, and I always feel conscious thought behind his musical decisions. There’s nothing superfluous in his writing.”

Brække’s bell-clear sound bears little resemblance to that of the pioneering New Thing trombonists. He suggests that this may be because he has been “more inspired by trumpet players. And even in ‘free’ playing I’m probably more melodically oriented than George Lewis, say, or Roswell Rudd. But the biggest influence has been really this band and the way it has developed with the interplay between the two horns and the drums. Trygve and I are always taking our tonality and chords from each other, and that’s the characteristic quality of this group.”

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