Over the course of forty years, pianist Bobo Stenson (born 1944, Vasteras, Sweden) has been able to adapt himself to contribute in whatever way is necessary for the music at hand. Always being himself yet never calling attention to his prowess, he plies his skills on projects and always ends up leaving his mark.
As a leader, he is an alchemist who can extract, expose, and elevate the essence of a composition. Stenson's intensity is quite reserved, and the resulting impact of his music is cumulative rather than showy. A solo might never get very loud or fast, butespecially in trio settings, where his partners pick up his growing flamethe music can become dense and extroverted before falling back.
Stenson's music is based on space. Each note almost always has some space around it, separating it from its neighbors, creating the feeling of calm and of not rushing, no matter how fast the notes are played. The dynamics of the notes in a line can vary widely, and many times he plays a "ghost" note that is just hinted, which is idiomatic saxophone phrasing.
His phrases twist and turn, changing direction without warning, but which always move forward toward a goal, thus leading the listener but never being predictable. Finally, his sense of time is so strong that he can play out of time when there is a pulse, yet keep the sense of connection to the beat, and also play in time when there is no clear pulse, maintaining the tension that results.
What is always fascinating to observe is the web of musical and personal relationships that develop over such a long career.
The releases below are dated as follows: release (recording). Sections: As a Leader
| As A Sideman As a Leader Bobo Stenson Trio IndicumECM
2012 (2011) Tracks
Indicum finds the Bobo Stenson Trio picking up where Cantando
left off, but now Fält is fully integrated, adding his own character to the strong voices of Stenson and Jormin. The tune mix is similar to the earlier record with Bill Evans' "Your Story" played as a solo tribute, George Russell's "Event VI" paired down to its essence, much like "Send In The Clouds" from Goodbye
and the Norwegian traditional song "Ave Maria" is given a loving, beautiful treatment.
But it's Indicum's three free improvisations ("Indikon," "Indicum" and "Indigo") that truly demonstrate this trio's greatest strengths, and why Fält has become such an essential side to its equilateral triangle. Not since Reflections (ECM, 1996) has Stenson's trio been so free to express itself both texturally and rhythmically. First with Cantando and now the sublimely stunning Indictum, this triothe boldly impressionistic Stenson, serenely singing Jormin and restrained yet unconstrained Fältcombines ethereal melodism with gentle grounding to create music that possessesand movesboth soul and spirit, head and heart. Bobo Stenson TrioCantando ECM
2008 (2007) Tracks
Cantando must be ranked among Stenson's highest achievements since the monumental double CD Serenity (ECM, 2000). The essence of the art of Stenson (and, of course, his trio) is the mixture of a "classical" attitude where every note counts and at least feels as if it is placed with a thoughtful preparation, an intensity that never strains but rather is light and understated, and a joyful exuberance which runs through everything and continually surprises.
This trio is all about precision. Stenson's piano technique is based on the way each note is surrounded by space, yet is connected, while Jormin has one of the tightest sounds in the business, and a command of technique (particularly harmonics, both plucked and bowed) that is astounding. Fält is essentially replacing Christensen, Paul Motian's appearance on Goodbye (ECM, 2006) notwithstanding, and plays with incisiveness, giving every sound a purpose with youthful vigor, supporting the band while continually pushing it. Bobo Stenson Trio Goodbye ECM
2005 (2004) Tracks Goodbye
is the fourth ECM recording by Stenson in a trio and the first with Paul Motian in the drum chair. To even maintain much less supercede the quality and intensity of the music on Serenity
would be quite a task. The music of Goodbye
seems a bit more approachable, less "abstract" and more melodic than that of Serentiy
without sacrificing any of the intensity of the trio.
Starting the disc with "Send In The Clowns" feels like a statement of purpose, as if Stenson is saying, "listen to the core of the tune: this is my art." The very essence of this well known tune, melodically, harmonically as well as emotionally is distilled out, producing its very nectar. "Race Face," which ends the disc is obviously a Stenson favorite, since he recorded it on Dona Nostra
(1993) and revisits it here. Its mood is decidedly different, more American jazz if you will, but given the Stenson treatment, and the group really takes off and drives intensely forward, with much more of feel of the blues, but nothing overt.