Bobo Stenson: A Discography
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).
As a Leader
As A Sideman
As a Leader
Bobo Stenson Trio
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.
The title tune is by the fairly obscure composer/arranger Gordon Jenkins, which was used by Benny Goodman to close his shows, and comes as close to a standard ballad as anything else Stenson has recorded, while once again, the emotional and music kernel of the piece is exposed and brought to the surface. Stenson and Jormin demonstrate they know each other, and Motian slips effortlessly and forcefully into the roll that Christensen filled for so long. This is true trio music where the whole is definitely more than the sum of the parts, which nevertheless remain distinct.
Containing more than ninety minutes of music on two discs, Serenity is simply astounding. Stenson's trio has created a lake that is so deep and wide, yet crystal clear, it would take weeks to fully explore. The overall mood is quite subdued yet tension and intensity are always lurking beneath the surface, as with Jormin's "T" and immediately followed by four short, abstract, free "Prints," which start Disc 1.
Instead of choosing an Ornette Coleman tune, this time Stenson picks Wayne Shorter's "Swee Pea" (from Super Nova), which in its original form is an eerie wisp of a tune, but here is introduced by faint percussive effects by Christensen leading to Jormin's arco playing that almost voices harmonics on every note, echoing Shorter's mournful soprano. The bass vamp that is set up threatens to take off, but never does, and Stenson's playing just barely adds to the melody.
On Disc 2, Silvio Rodriguez is revisited by "El Mayor" (the first time was "Oleo de mujer con sombrero" from War Orphans). The core of the disc could arguable be said to be "Die Nachtigal" by Alban Berg, "Rimbaud Gedicht" by Hanns Eisler and the title tune, "Serenity" by Charles Ives. The Berg line is made to almost feel like a waltz as it drifts in and out of a subtle triple meter and becomes almost a song; one can almost see Berg smiling, saying, "Yes, that is how my music should be played."