Time Change

Carried and with "Nordic heaviness" - one thinks of composers such as Grieg and Sibelius - the trio around pianist Milan Verbist opens the current album. Listening to the melodic lines and harmonies, you might think that a wintry night in Scandinavia is being musically sketched, as if the Nordic winter is coming to life, in which in some places the sun shines only rarely or not at all. "Time Change" is the title of the piece. Truly, the character of the stucco changes from the "freeze" and the "wintry calm" and the ice to the first rays of spring of the sun. The focus is on the pianist, while his fellow musicians, Toon Rumen (double bass) and Jens Meijer (drums) appear more as "marginal figures". Gradually, however, these "marginal figures" also take their place, coming to the fore with bass sound and distinct rhythms. Finally, you experience the bassist in an ear-pleasing solo, combined with a few drum rolls in the background and crystalline piano sound. Winter seems to be over, the ice is broken, the first green can be felt. This is how one could interpret what is heard.

We owe the piece "Bosonossa" to the Polish trumpeter Tomasz Stanko, which is opened by the bassist. What we hear is thrilling. There are "string jumps" to experience as well as the "deep abysses of the instrument", before the drummer of the trio can be experienced. After all, it is up to the pianist to provide brightened harmonies and a certain pling-pling-pling on the keys. In contrast to the opening piece, there is a strong amalgamation of the three musicians. They weave a dense fabric of sound, to which everyone contributes in their own way. In addition, the bass player also has free space in this piece to put his plucking fingers over the strings, quite with tempo. "No, I Haven't" is penned by the pianist as well as the opening piece or "Brigitte's Waltz". Monk or not? - that is the question that arises when listening to "No, I Haven't". In any case, it seems as if the piece is based on the "master of bop". This fast-paced piece is rhythmically underpinned by the playing of the drummer and bassist. By the way, there is also a certain swing inherent in the song. Then let's come to "Brigitte's Waltz": You almost perceive something pop-like. Or rather, something about an instrumental singer/songwriter. The sound glides along, as if a gondola ride were transformed into a sound image. Haven't blues references been interspersed here and there, especially during the solo performance of Toon Rumen?

The master of baroque music and fugue Johann Sebastian Bach is also honoured on the album with his interpretation of "Sarabande". Yes, classical music flows around the listener. The mood that emanates from the music can almost be described as sacred. Milan Verbist can be heard as a soloist for long stretches. And when in the second part of the baroque dance - because this is a Sarabande - the two fellow musicians also act, then discreetly and in the background.

With "Djeezes" and "The Silence Between", the pianist once again presents himself as a multifaceted composer. Finally, the trio will perform "Flutter Step", written by jazz bassist Gary Peacock. Yes, steps and jumps can be made out in the musical performance. There is a here and there and a back and forth. This is essentially thanks to Milan Verbist and his accentuated playing. And the bass player also takes on the volatility, step by step. Conclusion to the album: a partly contemplative, concertante listening pleasure!

Translated from German