Anne Mette Iversen expands quartet to get two horns in the front line for "Round Trip"

-
Out in the open: Anne Mette Iversen with her quartet.
The most striking thing immediately about "Round Trip" (BJU Records) is that bandleader-bassist Anne Mette Iversen eschews the usual way of combining trombone and tenor sax in a small group. Typically such a presentation is muscular with the two horns acting as a phalanx, warm and assertive.

In "Round Trip" Iversen has Peter Dahlgren on trombone to play lines typically in counterpoint with the sax— freewheeling, sometimes joined at the hip, sometimes not. This provides an unexpected openness to the ensemble, signaled right off the bat by the title tune. Dahlgren is the "+ 1" filling out the ensemble known here as the Anne Mette Iversen Quartet +1, whose other members besides the leader are John Ellis, tenor saxophone; Danny Grissett, piano, and Otis Brown III, drums.

Iversen's originals don't allow the ears to settle into any particular combination among the five musicians. Trombone and drums get "Segue" under way, and after Ellis' and (outstandingly) Grissett's solo, the piece moves into exchanges between piano and tenor sax. Ellis' ease in all registers gets extensive display in the rubato opening of "Wiinstedt's View," a floating ballad featuring Dahlgren's poised, at-home-up-high trombone.

The bassist imparts to her group an open feeling through her writing. In "December Light," the unison line etched by the horns blossoms into a feeling of reaching out as the piece proceeds. There's a sense of throwing off constraints without the need to go "outside" as far as harmony and articulation are concerned. A rare solo by the leader distinguishes "Scala," in which everyone moves together as an ensemble. The Iversen showcase is well-placed: "Scala" is Italian for "ladder," and of the instruments involved here, the double bass most resembles a fretless (or rungless) ladder.

There's sly wit behind the title of "The Ballad That Would Not Be," insofar as the music seems to be reaching toward a ballad that's never fully formed. A long piano solo toys with this burgeoning idea, and would try the patience if the title hadn't already disarmed criticism. "Red Hairpins" closes the disc; it's the longest piece, with heavy percussion display from Brown over a laconic piano riff. The ensemble re-enters with some brisk staccato statements, and before you know it, the Anne Mette Iversen Quartet + 1 has made a graceful exit.


Comments

Post a Comment

Popular posts from this blog

Actors Theatre Indiana romps through a farce — unusually, without a founder in the cast

-
Image
"Don't you love farce?" runs a memorable rhetorical question in Stephen Sondheim's "Send In the Clowns." There's lots to watch on the screen for characters in "Unnecessary Farce." Desiree's bitter song points to the conditions that underlie farce: Misunderstandings, false assumptions, confused or deceptive identities, upsets, personal disasters. None of that is any fun when you're  living it. If relatively minor, the conditions of farce may seem risible shortly after the dust has settled. If more serious, they will be permanently unsettling. As a literary or dramatic genre, however, most people do indeed love farce. But, frankly, the whole bag may seem unnecessary —  and not just as part of the pun in the last line of Paul Slade Smith's "Unnecessary Farce."  Actors Theatre Indiana opened the show Wednesday night in the Studio Theater at the Center for the Performing Arts . The premise is a police sting operatio
Read more

Indianapolis Opera presents 'A Little Night Music,' a sexy comedy of Scandinavian manners

-
Image
"Send In the Clowns" is a rarity among modern musical-theater hits in being selectively lifted from the show by singers who simply want to do it, even though Stephen Sondheim's most popular song is thoroughly nestled in, and essential to, "A Little Night Music." A production of the sometimes blithe, sometimes sentimental operetta by Indianapolis Opera runs through today at the Toby at Newfields . Predictably, "Send In the Clowns" went over superbly as delivered by the aging actress Desiree Armfeldt in the second act. The song can best be understood in context, despite the way it has been put across by everyone from Frank Sinatra to Renata Scotto. Desiree and Frederik refresh their bond.  Here it was beautifully set up by the orchestra, under the sensitive direction of Alfred Savia, and performed within an aura of Desiree's cherished memories and indelible regret by Heather Hertling Narducci. In the reprise, she was joined by Daniel Narducci (her hu
Read more

DK's 'Divas A-New': What's past is prologue (so is what's present)

-
Image
  Ensemble exuberance in "Stories from the Corner Bar" Joshua Blake Carter's curtain speech gave Dance Kaleidoscope 's opening-night audience Thursday a concise, graceful indication of how the transition from his illustrious predecessor as artistic director, David Hochoy, is settling in. Before "Divas A-New" took the stage, the audience at Schrott Center for the Arts (a new venue for the company) got brief exposure to DK's educational wing as two student troupes performed. That was a charming showcase for what's been possible since DK moved into a new permanent rehearsal and educational home in 2020. The solidity of the professional company no longer had to pose questions as to whether its growing profile was anything more than a castle in the air.  Setting aside what the hyphen in the program title must mean (since "anew" would seem to convey the idea), it's clear the "divas" idea builds upon the popular focus in earlier pr
Read more