There is something about trios. The spare nature of the lineup and the direct connection between the ear and the individual musicians make them attractive to me. These same qualities also make the musicians more attuned to each other, locked in to nuances that might be missed in a larger ensemble, yet offering sonic complexities that might elude the duet or solo performance.
This particular instrumental trio from Sweden offers an unusual sonic structure. Mia Gustafsson is the violinist, Hanna Wiskari plays saxophones and Petter Berndalen whacks, strums and caresses kit and frame drums and all sorts of small percussion. The violin and saxophone often play in tight unison or harmony, breaking off to counter and challenge one another in careful, open improvisations. These two young women clearly have learned their lessons from some of the best, and you can hear phrasing that indicates how much they revere masters of the previous two decades, like Lena Willemark, Mikael Marin, (who produced this recording), Sven Ahlbäck, Jonas Knutsson, Sten Källman and Ellika Frissell. Berndalen's playing owes much to the great Nordic drummer Terje Isungset in his use of brief, spacious patterns, irregular rhythms that fit tightly between the beat and unusual approaches to the instruments. They have studied the best of the best.
But they are ultimately their own masters. They show an astute understanding of regional folk music, with a particular focus on Värmland and Bohuslän, but they are not chained to the past and are willful in their reinterpretation of the old tunes. They freely mix in the jazz and classical idioms they all have training in, while never remaining true to the folk music, never becoming a fusion. Each tune offers a surprise, be it an unexpected sense of drama or a sudden flight of whimsy. This is all brilliantly expressed in their austere reading of Norwegian fiddler Hans Brimi's "Gammelhussin," where the fiddle and percussion don't so much take alternate lines of the tune as hurl them at one another, each challenging the other to take chances. They follow this with a warm romantic interpretation of the Brimi march "Nävårsetermarsjen" that starts as a slow fiddle solo and then evolves bit by bit into a raucous turn on the American fiddle tune "Blackberry Blossom," punctuated by a brief animated line from "Amazing Grace."
[ni:d] may have complicated their professional lives with their unusual name, (the phonetic of the English word 'need' as well as a reference to a Swedish song style), one that is impossible to file alphabetically. But perhaps that is the point; it is a name to match their equally undefined approach to folk music. As Wiskari explained to me, "Mostly it's about having a need for something - for example, playing music!"
Three musicians with a common goal: Unison ensemble playing.
Together the group [ni:d] dive into the depths of folk music to explore how three people can sound like one.
The melodies are always in focus and give inspiration and ideas for what [ni:d] wish to communicate.
Their close ensemble playing captures and entrances the audience, taking them on a
journey unlike any other.
Recension:
"Inspirerande folkmusik!
Mia Marin, Hanna W Griffiths och Petter Berndalen gett ut en alldeles utomordentlig folkmusik-cd. Den på pappret något udda sättningen fiol, saxofon och slagverk visar sig i praktiken tolka musiken på ett förförande sätt. Micke Marin skriver i skivans konvolut att [ni:d] lyckats skapa "det musikaliska nordiska ljuset". Det är en liknelse som väl presenterar gruppens musik.
Skall man försöka spåra influenser till gruppens sound får man lyssna på Filarfolket, där en av Mias inspiratörer Ellika Frisell spelade fiol och Tina Johansson-Quartey spelade slagverk. Speciellt den härligt galna old-time låten Blackberry Blossom skulle mycket väl kunnat dykt upp på en gammal Filarfolketplatta och Eva Saethers underbart vackra Fastän fanns faktiskt med på Groupas klassiker Utan Sans från 1988.
När jag spelade plattan för några "rockorienterade ungdomar" blev den spontana kommentaren att det låter som Freak Kitchen med IA Eklundh på fiol! Liknelsen säger en hel del om intensiteten och närvarokänslan i musiken.
Det är en skiva som förbehållslöst kan rekommenderas alla som är intresserade av bra musik!
Faktiskt är det den bästa folkmusikplattan jag hört på mycket, mycket länge."
After you've finished here, you may like to hear this poem, & some songs, on myspace... Poem 187 of 230, WalkaboutsVerse (see my blog for details): A SOUTH SHIELDS WALKABOUT - AUTUMN 2001
Out of the museum-and-gallery (Wiser on Cookson and the local way), Down Ocean Road with, to the right of me, Its eateries and, left, neat places to stay; Before, on either side, Marine Parks - The southern-one a most beautiful place, Teeming with moorhens, swans, grebes and mallards In a small lake at a scenic-hill’s base.
Then (holding chips from the parade’s cafe And, thus, a flock of gulls squawking above) Onto the South Pier I made my way: Seeing seaweed over rocks - like a glove - And high-and-dry sands held from transgression By growth of grass and the weaving of wood, Plus, in the dim light of a sleepy sun, Fishing boats returning to Tynemouth’s hood.
After you've finished here, you may like to hear this folk-carol on myspace... Poem 230 of 230, WalkaboutsVerse (see my blog for details): CHRISTMAS SUNG SIMPLY
As gospellers have said, Beneath signalling skies, On land dusty to tread, A trough in a stable Was the strawy first-bed Of a divine baby - The forgiving Godhead.
A season for new hope - There then and here now; The yuletide of goodwill - There then and here now.
In respect of this chance, Beneath bright or dark skies, Faith's the star that we glance Attending Christ's churches And trying to enhance, With singing and ritual, Our God-loving stance.
After you've finished here, you may like to hear this poem sung on myspace...
Poem 162 of 230, WalkaboutsVerse (please see my blog): TEES TO TYNE: FIRST IMPRESSIONS - SUMMER 2001
Where traditions are not so rare; Sea, country and works scent the air; A multitude of monuments, Planted tubs and patterned pavements.
The longish pedestrian malls; The remnants of defensive walls; Historic buildings are a gauge Of the respect for heritage.
Wheat, rape and pines in the fields; Estuaries guarded by shields; Long sandy beaches and wide scenes; Romantic-ruin go-betweens.
Rivers in parts licked by trees, Or fringed by boat clubs, wharfs, gantries, And crossed by practical delights - Varied spans, forming pleasing sights.
Fine churches headed at Durham; Football kits ad infinitum; Kept castles - one for study; Masonry behind masonry.
And, with moulding-works out that way, It’s somewhere for a longer stay..?
After you've finished here, you may like to hear this poem sung on myspace...
Poem 2 of 230, WalkaboutsVerse (please see my blog): WALKABOUT WITH MY PEN
Once drove an old sedan, up north, From a place in Sydney to Cairns; Then to Kuranda I went forth, By train, to look without set plans.
I browsed through the trendy market, With fresh fruits of tropical kind; Walked to the creek through lush thicket - Nature’s hand giving peace of mind.
I dined in a scenic cafe; Then, outside, as I wrote for yen, Some passing Kooris called-out: “Hey, You go walkabout with your pen.”
Request or question, I don’t know - Assured voices, elderly men. That’s now several years ago, And I’ve seen the world - with my pen.
Releasekonsert för nya skivan "Soot" 13e maj kl 20.00 på Studio Lederman, Gästrikegatan 13, T-st:Eriksplan Varmt välkommen att fira med oss!!!! H / Boot
Den 10/10 har vi releasekonsert för vår alldeles nya skiva "Om Mikaelidagen", på Linköpings Folkmusikfestival! Ni är otroligt välkomna! Smakprov från skivan finns på vår sida nu! Hoppas vi ses! /Kongero
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