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INTERNATIONAL:
ABEILLEMUSIQUE - Two Hours
(March 2006):
T rès actif sur le front de la musique
instrumentale jazz à New York, le guitariste d’origine slovène
Samo Salamon s’offre un nouveau plaisir en compagnie de trois musiciens
confirmés des studios new-yorkais. Cinquième album de l’intéressé,
Two Hours est une traversée fantasque dans un hard bop de très
bonne tenue, avec la participation haute en couleur d’un Tony Malaby en
grande forme Where’s the Bill ?. Avec des hommages appuyés à
Bill Frisell et Steve Lacy, Salamon n’oublie pas ses influences. De l’influence,
il en apportera sûrement avec ce jazz enjoué et coloré,
qui ne s’endort jamais sur ses lauriers.
CITIZEN JAZZ - Two Hours
(March 2006):
Concernant Samo Salomon, après première
écoute ça sent bon ! Le leader est pas mal mais ces trois
compagnons sont tellement exceptionnels, encore une fois...Ma main s'est
tendue vers ce nouveau Fresh Sound New Talent: Samo Salomon, cette semaine
à la FNAC. J'ai failli le prendre à la seule vue des noms
de Malaby, Helias et Rainey. Et puis j'ai vu que ce Salomon que je ne connais
pas est un guitariste, hélas!
ALLABOUTJAZZ - Two Hours
(John Kelman, March 2006):
Sometimes two hours is enough. Groups like Oregon
and the Dave Holland Quintet have shown the value of developing long-term
chemistry, but sometimes the energy of the unexpected can be equally motivating.
With the one rehearsal for Two Hours sideswiped by an unexpected grab of
the New York rehearsal space for a movie shoot, Slovenian guitarist Samo
Salamon truly made the most out of a situation that might have unnerved
a less confident player.
The musicians chosen for the date—saxophonist
Tony Malaby, bassist Mark Helias and drummer Tom Rainey—are all well-accustomed
to working without a safety net. And so, after a brief acoustic rehearsal
at Helias’ home, the quartet went into the studio the next day and cut
the album’s ten original compositions in just two hours. But you’d never
know it.
Salamon’s ambitious nature has been apparent since
the out-of-nowhere surprise that was Ornethology (Independent, 2003). With
four additional releases slated for this year, 2006 may be the year he
makes the leap into greater visibility, especially given that his collaborators
include figures like Drew Gress, Josh Roseman, David Binney and Mark Turner.
If Two Hours is anything to go by, it’s going to be an exciting year.
While Salamon often utilizes a gritty tone that
references his appreciation for John Scofield, he’s also moving towards
greater warmth. “Empty Heart,” a lyrical ballad that flows gracefully despite
its 3-4-3 metric irregularity, has a 7/4 middle section that’s just outré
enough harmonically to give the piece added depth. On the more mainstream
ballad “The Lonely Tune,” Salamon demonstrates increasing confidence in
going it alone. His self-contained introduction could easily have gone
on longer. But Salamon is a democratic leader, and everyone gets plenty
of room to move here and elsewhere on the disc.
The guitarist's motif-oriented constructive approach
to soloing is remarkably developed. His extended solo on the jagged “One
for Steve Lacy,” supported by Rainey alone, is a case of one motif explored
and enhanced, gradually evolving into another. And another. By the solo’s
end, all reference to the initial idea is gone, but the trip is logical
and clearly intentioned.
The spirit of Ornette remains strong in Salamon’s
writing. The lengthy theme of the staggered but still swinging “A Melody
for Her” opens up to freer interplay between Salamon, Helias and Rainey,
as does the even more idiosyncratic “Where’s the Bill,” a tip of the hat
to the wry humour of Bill Frisell.
It's a given that Malaby, Helias and Rainey—whose
unencumbered adaptability is increasingly evident with every session he
does—are as elastic as Salamon’s writing. In many cases a recording where
a relative unknown hires more visible players can come off as nothing more
than a session. Two Hours, on the other hand, with its unmistakable communal
engagement, makes the most of the enlisted players’ clear respect for the
leader. If Salamon’s other releases this year approach the chemistry of
Two Hours, then this may well be the year for this rapidly developing Slovenian
find.
ALLABOUTJAZZ - Two Hours
(Paul Olson, March 2006):
Next time you find yourself underwhelmed by a
jazz recording on an indie jazz label, it might be entirely the fault of
the artist—some people make bad records, after all. That said, the whole
system might be the culprit: small labels offer musicians opportunities
to do sessions, but don’t (and usually can’t) give them what they need
most to make a proper album: time. Time is money in the studio, of course,
and rehearsal must occur on the artist’s dime before the studio date.
Slovenian guitarist/composer Samo Salamon alludes
to these sorts of conditions in the title of his new quartet CD Two Hours—that’s
how long the album took to record after the band (composed of Salamon,
bassist Mark Helias, drummer Tom Rainey and tenorman Tony Malaby) managed
to eke out one amp-free rehearsal and one live gig.
Fortunately, that’s how these guys operate—at
least one of them’s probably playing a New York gig tonight under the same
sorts of cicrumstances—and you’ll have to strain pretty hard to find any
slackness or stumbling in the playing on Two Hours, a bracingly tough yet
ultimately melodic collection of ten Salamon originals.
Salamon had an apprenticeship with John Scofield
in 2000, and you might hear some Sco-tone in his electric guitar playing,
but his slightly overdriven sound, light, brisk touch and jagged, mild-dementia
phrasing’s his own; if he resembles anyone at times, it’s a more jazz-inflected
Marc Ribot. In any case, his jaggedness is just the bitter coating of a
sweet musical pill—he’s really a melodist at heart. Salamon’s tone blends
marvelously with Malaby’s robust tenor lines, and the two contribute memorable
unison heads to “A Melody for Her” and “Does David Know He’s Not Brown?”—just
to name a couple.
“Empty Heart,” the CD opener, is, simply put,
one of the best songs of the year, with a delicate, simple theme that Chet
Baker (or any of his European ECM trumpet brethren) would love. Helias
threads the track with augustly deep, woody lines that sound eminently
wise—both before, after and during his a cappella solo that is slowly joined
by Malaby, then Rainey and Salamon.
Malaby and Salamon bite off the cagey theme of
“A Melody for Her” with real gusto, and the group’s sudden, telepathic
shift from a looser time into a straight 4/4 swing during Malaby’s solo
emphatically undermines any claim to the band being negatively affected
by underrehearsal. Here and elsewhere, Salomon’s single-note, non-chordal
lines act more like a horn than guitar, and, horn-like, he often lays out
during Malaby’s solos.
“Silence of the Poets” is a strange blues with
an incantatory, improvised drums/arco bass introduction and, later, a deep-emotion
Malaby solo that’s buttressed by whining volume swells and feeback groans
from the leader over autonomous bass and drums. It’s a perfect, satisfying
blend of beauty and noise.
The music on Two Hours rises above the circumstances
of its creation. You’ll be hearing more from Salamon.
ALLABOUTJAZZ - Two Hours
(David Miller, March 2006):
Samo Salamon is a master guitarist. His chops
go unchallenged; at any moment he could play any note or chord on the instrument.
That said, Two Hours is a disappointment. Salamon and his bandmates (Tony
Malaby, tenor sax; Mark Helias, bass; Tom Rainey, drums) fall victim to
two of the biggest traps in jazz: sub-par songwriting and uninspired playing.
Salamon studied for a year under John Scofield,
and the Sco influence shows in Salamon’s tone, as well as his lightning
runs. “Empty Heart” opens the album and is a highlight, almost reminiscent
of the great ensemble playing in ScoLoHoFo. Malaby plays an eccentric Lovano-ish
solo, while Salamon’s chording during the theme is gripping. In this example
of superb ensemble playing, not only are the musicians responding to each
other, they are also playing with a purpose.
Salamon has freer tendencies than Scofield, and
this recording highlights his proclivity. However, more often than not
it sounds forced and out of context. The solo breaks on many of the tunes
are contrived, essentially breakdowns into space from straight jazz melodies.
As I see it, one essential aspect of great free playing is its emotional
content. The great free players are able to eschew the boundaries of music
and really play what they feel. While Salamon and his counterparts obviously
have the chops to play free, they lack the sheer emotion necessary to sustain
interest. Sure, Rainey’s drums provide perfect counterpoint to Salamon’s
rushes, and Malaby and the guitarist are completely in synch throughout
the recording. But without that emotion, much of their playing comes through
as noise.
This recording does show promise. Salamon will
be heard from again; his immense chops preclude him from falling by the
wayside. And while the songwriting here is not great, it is clear that
Salamon is able to write a simple, melodic, catchy tune. While Two Hours
is not recommended, Salamon is a guitarist worth keeping track of.
ALLABOUTJAZZ - Two Hours
(Chris May, March 2006):
Slovenian guitarist Samo Salamon has generated
a good degree of heat over the last couple of years, first with his self-published
'03 album Ornethology, then with last year's Ela's Dream. Both discs suggested
the emergence of a young guitarist well on the way to finding a distinctive
personal voice. The early promise is fulfilled on Two Hours, Salamon's
first album with a US lineup, recorded in New York in late '04 with a tough
local crew.
Salamon is engaging both as a guitarist and as
a composer (all the tunes here are originals), and he brings the same agitated
energy to both endeavours. His music is eager and edgy and excited, and
his lines! pile up! climactic resolution! after climactic resolution! He
can turn his hand to a more leisurely lyricism (as on “Empty Heart” and
“The Lonely Tune,” both, as their titles suggest, poignant introspections),
but is most impressive on hot, jittery, uptempo post-Ornette Coleman miniatures.
Salamon has picked 'n' mixed pragmatically from
the harmolodic menu, but he hasn't bought the whole nine yards; when he's
at his hottest, you can hear traces of James Blood Ulmer, but other lines
recall Bill Frisell and early mentor John Scofield. Sonny Sharrock also
peers around the corner from time to time. Salamon uses effects sparingly
(mainly chorus and distortion) and has a penchant for tempo changes. He
hasn't quite arrived at his destination yet, but Two Hours suggests he
may soon.
Salamon's hands-across-the-ocean band here is
busting. The album was recorded in just two hours, with one sotto voce
rehearsal in bassist Mark Helias's apartment, thus necessitating a high
degree of attentiveness and interaction between the musicians in the studio.
The resulting collective spontaneity is well suited to Salamon's open-ended
skeletal tunes and improvising abandon, and if the band doesn't always
land on the one in perfect unison, a few ragged edges sit happily within
the music. All three American musicians shine; saxophonist Tony Malaby
is a particular thrill and delight, with split tones, growls, smears, lurches,
jabs and body punches tumbling out of his tenor.
Salamon, whose recording activity is as prolix
as his music, has announced no less than five new albums to be released
this year and next—with a New York quintet, two different European quartets,
a US/European quartet, and a trio with Drew Gress and Tom Rainey. On this
occasion, then, it is safe to predict that he's “a musician we'll be hearing
a lot more from in the future.”
ALLABOUTJAZZ - Jazz In
Europe (John Kelman, December 2005):
While Nicholson's thesis is flawed, equally I'd
say that in support of Bev while innovation in jazz has not shifted specifically
to Europe, no longer is it the exclusive domain of the US. Innovation is
happening everywhere - from the US to England, Germany to Norway, Finland
to Slovenia. The role that American artists continue to play in the evolution
of jazz cannot be undermined and should never be understated; but neither
should the fact that its continued growth is also happening because of
non-American artists including Tim Garland, Tomasz Stanko, Kenny Wheeler,
Jon Balke, Iro Haarla, Django Bates, Iain Ballamy, Trygve Seim, Samo
Salamon, Markus Stockhausen, and so many more.
Equally, American artists like Dave Douglas, Bill
Frisell, John Hollenbeck, Maria Schneider and others are doing great work
to prevent jazz from becoming simply a museum piece.
ALLABOUTJAZZ - New Releases
of 2005 (Marc Meyers):
* SF Jazz Collective, /The
Inaugural Season 2004/, Self-published
* Samo Salamon, /Ela's
Dream/, Splasc(H)
* Fred Hersch, /Leaves Of
Grass/, Palmetto
* Wayne Shorter, /Beyond The
Sound Barrier/, Verve
* Bud Shank, Phil Woods,/
Bouncing With Bud And Phil/, Capri
* Drew Gress, /7 Black Butterflies/,
Premonition
* Sonny Rollins, /Without
A Song/, Milestone
JOHN
SCOFIELD (December 2000):
"I have known Samo Salamon for four years and
have enjoyed watching him develop as a player. It is my opinion that he
is a talented, highly motivated and hard working musician and composer."
CHRIS
POTTER (November 2003):
"Very open music conceptually – great use of
textures and sounds."
DAVE DOUGLAS
(August 2003):
"Great playing and writing!"
JAZZ WEEKLY - Ela's Dream
(Ken Waxman, October 2005):
ELA’S DREAM was recorded four months before that
at the Ljubljana Jazz Festival. Based around the compositions of Slovenian
guitarist Samo Šalamon, the sextet is decidedly international. Maribor-born
Šalamon has studied and recorded in New York with bands featuring bassist
Mark Helias, drummer Tom Rainey and alto saxophonist Dave Binney, the last
of whom is also present here. Sharing the front line is Indianapolis-born,
Verona-resident trumpeter Kyle Gregory, who is also in baritone saxophonist
Alberto Pinton’s Clear Now group, and alto saxophonist and bass clarinetist
Achille Succi, who plays in a variety of bands including The Italian Instabile
Orchestra. Bassist Paolino Dalla Porta is one of the busiest accompanists
in Italy, while fellow percussionist Zlatko Kau?i? is a well-traveled Slovenian,
who works throughout Europe and recorded an interesting duo session with
reedist Mauro Negri.
Drumheller’s episodic and march-like compositions
are very much of a piece, leading to a certain sameness in execution –
but not one that offends. In contrast, perhaps because of festival excitement,
Šalamon’s pieces, which are invested with high spirits as those on RAT-DRIFTING,
are allowed to run on a little too long. Twenty minutes more lengthy than
the other CD, ELA’S DREAM could have been far superior with judicious self-editing
on the stand.
As it is, with the exception of “Broken Windows”,
which is less than 10½-minutes in length, all the other tracks read
out at more than 15 minutes each, with the title track nearly 20 on its
own. Unfortunately much of the skill exhibited by different band members
is dissipated at the beginning of “Ela’s Dream” when Kau?i?’s blunt and
reverberating solo stretches past five minutes, having started to wear
out its welcome at the four-minute mark. Although his ratamacues, rumbles
and ruffs have subsided into focused accompaniment by then, the light-hearted
scampering theme doesn’t really put things on an even keel.
After that, to darting bass accompaniment, Binney
begins flutter tonguing a theme variation which soon works its way to side
slipping spetrofluctuation, split tones, squeaks and smears. Kau?i?’s flashy
flams segment another variation, after which the saxman’s repetitive four-note
phrase turns to carefully splayed grace notes, backed by melodious double-stopping
from the bass. Bugle-like crescendos from the trumpeter, plus double counterpoint
from Binney’s alto and Succi’s sonorous bass clarinet lead to sweeping
licks from Šalamon with a finale of altissimo and tremolo passages from
all the horns.
“There's Still Dog Food Left In It” suffers from
similar solo excess, although this time it’s the rubbed and struck rhythmic
output of Dalla Porta that is over-extended. Showcasing his skill for over
eight minutes can only impress bass-playing fan boys. This excess seems
to have affected the others as well, since the harmonics used by the trumpeter
and guitarist to take out the piece have an unfortunate resemblance to
lines played by pop-jazz bands of the 1970s.
Much more palatable are the other tunes, including
“Coffee With A Girl”, which probably by the virtue of opening the program,
is memorable almost throughout its 18¼-minute length. Deliberately
episodic and influenced by Ornette Coleman’s later style, its motion is
refocused rather than slowed by contributions from all the band members.
Its expository theme stated by trumpet squeaks,
alto smears and extended double picked guitar lines, Šalamon’s chording
frenzy is soon cut by bass clarinet snorts and brassy trumpet flares. A
new variation turns the theme from andante to allegro, as the guitarist’s
quick figures turn to crunches and snaps. Using his effects pedal, Šalamon’s
line upturns to rock-like interface, accompanied by stentorian banging
from Kau?i?, as if the two of them were Ginger Baker and Eric Clapton in
their Cream prime, turning their hands to jazz improvising.
Not that the other musicians mark time however.
Binney’s alto saxophone turns from double tonguing and snorting in its
lower registers to moving forward with accented trills and repeated arpeggios,
to explode into fizzy and overblown pitch vibrato backed by bounces from
the drummer. Subsequently, Succi’s appropriately tonal bass clarinet lines,
backed by a steady walking pace from Dalla Porto ratchet up to altissimo
reed-biting squeaks, then modulates down to Dolphy-like phrasing. Counter
lines from the other horns bring forward another theme variation and the
piece climaxes with elliptical buzzes from Succi, sprightly grace notes
from Gregory and an ending that’s mostly polyphonic counterpoint
Performed with enough polytonality, elastic time
sense and extended techniques to be 21st century modern, the rhythmic and
melodic implication of Šalamon’s tunes recall classic well-constructed
anthems. He’s no Gigi Gryce or Benny Golson, but the combination of his
supple lines and first -class blowing makes most of the work here memorable.
SUONO - Ela's Dream (Sergio
Spada, September 2005):
Un lavoro interessante, realizzato da un musicista
giovane ma tutt’altro che di “primo pelo”: il chitarrista Samo Salamon,
“leader” di un gruppo cui non manca la personalità e la cui esperienza
collettiva risulta invidiabile quando comparata alla musica prodotta in
questo Ela’s Dream. Registrato “live” in Slovenia nel 2004, il disco (dedicato
ad un cane particolarmente caro a Samo) annovera un sestetto di elevata
affidabilità, indubbia coesione e forte duttilità musicale,composto
da musicisti pronti all’esplorazione delle più diverse vie che caratterizzano
i percorsi del jazz e le loro derivazioni. Parlando di Salamon qualcuno
scomoda Ornette Coleman, e non a torto, proprio per l’approccio che il
chitarrista usa verso la materia musicale da comporre o da plasmare secondo
le sue idee ed il suo istinto, scegliendo i compagni di incisione fra strumentisti
“esploratori” e “curiosi” della materia che suonano. Di elevato livello
l’apporto di due musicisti italiani fra i migliori: Achille Succi (magnifico
al clarinetto basso) e Paolino Dalla Porta, davvero un contrabbassista
di rara completezza capace di un interminabile ma affascinate solo in There’s
still dog food left in it. Con loro, fra gli altri, l’energia ad elevato
tasso di coinvolgimento del sax di David Binney, pronto a duettare in modo
brillante con Succi e con la stessa chitarra di Samo. Ela’s Dream è
un disco davvero “pieno” nel senso più puro del termine, ma non
come un tacchino imbottito di qualcosa di cui avrai presto la nausea (scusate
il paragone irriverente) ma come un percorso musicale fatto di brani molto
lunghi (minimo dieci minuti, e per la traccia finale) sufficienti a far
venire fuori la natura estremamente aperta delle composizioni e le urgenze
espressive del gruppo, efficacemente rappresentate dal bravissimo chitarrista,
non esente da influenze rock spesso molto efficaci (Emotional playground).
JAZZREVIEW - Samo Salamon
Sextet: Ela's Dream (Glenn Astarita, June 2005, USA):
Slovenian jazz guitarist Samo Salamon conveys
maturity beyond his young years on this progressive jazz release.
A live recording featuring well-known American saxophonist David Binney
to round out the three-horn attack, the guitarist surfaces as a confident
leader who possesses mega-chops and improvisational savvy. With these
five lengthy pieces the band offers a refreshing slant via a concoction
of free-jazz, swing, bop and jazz-fusion. But the overall muse is
not simply built upon a cross-polarization of jazz styles. It’s more
about Salamon’s resourceful leadership and rock solid compositions that
highlight his band-mates’ technical veracity amid variable flows and memorable
choruses.
At times, Salamon puts the pedal to the metal
via ascending soloing ventures and climactic phrasings; all supplemented
by stinging progressions and cleverly articulated single note flurries.
Otherwise, Binney, saxophonist Achille Succi and trumpeter Kyle Gregory
turn in gritty soloing to coincide with the various shifts in tempo and
alternating currents. On “There’s Still Dog Food Left In It,” Paolino
Dalla Porta takes an extended bass solo, followed by the hornists’ solemn
passages, ultimately evolving into a vibrant medium-tempo swing vamp.
With that, Salamon – a one-time student of guitarist John Scofield – successfully
conveys a vibe that teeters on the cutting edge of matters, while offering
a set that seldom fails to entertain!
ALTRISUONI - Ela's Dream
(May 2005):
Il chitarrista sloveno Samo Salamon mette assieme
un bel casting e si avventura con la giusta faccia tosta in una impresa
ben riuscita che lo fa atterrare dalle parti di Ornette Coleman, uno dei
miti del jazz moderno. I saxofoni di David Binney e Achille Succi sono
perfetti compagni di viaggio per un progetto così impegnativo, così
come preziosi collaboratori sono il trombettista Kyle Gregory e il batterista
Zlatko Kaucic. Ma in particolar modo chi ricopre un ruolo fondamentale
in questi cinque lunghissimi brani è certamente il bravissimo Paolino
Della Porta, col suo contrabbasso perfettamente allineato alla strutturazione
di questi brani tutti scritti dal giovane chitarrista. L'assenza del pianoforte
e il fatto che Salamon si chiami spesso fuori da compiti di accompagnamento,
lasciano sulle spalle del bassista tutto il peso della cucitura armonica
e dello scorrere delle sezioni dei brani e il suo modo di gestire questi
due compiti così impegnativi è davvero esemplare. La registrazione
è avvenuta a Ljubljana verso la metà di aprile del 2004 e
questo bel Ela's Dream ce la riporta molto fedelmente, con un buon bilanciamento
timbrico, utile soprattutto a ben rappresentare i momenti scoppiettanti
di energia in cui i fiati ribattono le esposizioni tematiche, con le voci
che si rincorrono alla ricerca di nuovi equilibri armonici e timbrici.
Un percorso coraggioso e determinato in un territorio quasi sacro del jazz
moderno, un chiaro omaggio davvero ben riuscito e maturo ad una figura
esemplare come quella di Ornette. Un chitarrista da tenere d'occhio, per
le sue scelte sicuramente non banali e per la sua appassionata dedizione
ad un progetto certamente al passo coi tempi.
ALLABOUTJAZZ - Samo
Salamon Sextet: Ela's Dream (John Kelman, May 2005, USA):
Slovenian guitarist Samo Šalamon’s '03 recording
Ornethology was something of an epiphany. From the most unlikely of places,
a young artist had emerged, not only possessing a frightening command of
his instrument, but also gifted with the kind of maturity and artistic
vision that would be remarkable regardless of age or origins. While that
disc reflected a relatively newfound interest in the music of Ornette Coleman—it
consisted largely of original compositions in the spirit of Coleman—he
has also been an incredibly hard-working player, with five different projects
going on concurrently, including the ethnic musings of his Ansasa Trio
and its ’02 recording, Arabian Picnic.
Two years later Šalamon hasn’t let up a bit. His
new album, the live Ela’s Dream, continues to explore the path set down
by Coleman, in particular with his early-‘60s Atlantic recordings. What
is becoming clear, however, is that Šalamon is integrating Coleman’s spirit
into pieces that, while providing plenty of space for improvisation—Šalamon’s
five compositions range from ten to twenty minutes—also demonstrate a stronger
disposition to form.
The odd-metered riff of “Broken Windows” and its
circuitous theme reflect a structural idiosyncrasy reminiscent of alto
saxophonist David Binney’s writing—and, indeed, Binney can be found as
a member of Šalamon’s sextet. Ultimately, however, Šalamon’s form is used
as a foundation for a powerful saxophone tradeoff between Binney and Achille
Succi—another alto player, who returns from Ornethology and possess a slightly
sweeter tone as compared to Binney’s edgier timbre. The two saxophones
raise the heat, leading into a fiery guitar/drum duet between Šalamon and
Zlatko Kau?i?, another Ornethology alumnus who has been something of a
mentor to Šalamon over the past few years.
That Šalamon bears some resemblance to John Scofield
is no surprise; he studied with Scofield, and he adopts a similarly gritty
tone. But whereas Scofield is full of grease and blue notes, Šalamon possesses
more of a European aesthetic, coupled with a looser sense of freedom and
elasticity with time that brings to mind Sonny Sharrock or James “Blood”
Ulmer at his more adventurous.
Šalamon’s playing reflects a barely controlled
intensity. Even “Emotional Playground,” which begins as a gentle ballad,
ultimately resolves into an odd-metered core, featuring a searching solo
from Šalamon that gradually builds in power. Šalamon demonstrates a palpable
evolution since Ornethology, now far more capable of shaping an extended
solo and giving it form over the long run.
And Ela’s Dream is but the first in a series of
recent collaborations that includes two sessions from a visit to New York—a
quintet date with Binney, trombonist Josh Roseman, bassist Drew Gress,
and drummer Gerald Cleaver; and a quartet date with saxophonist Tony Malaby,
bassist Mark Helias, and drummer Tom Rainey. Šalamon is aligning himself
with all the right players and he’s clearly evolving at a rapid pace. Hopefully
these two New York sessions and Ela’s Dream will garner him the attention
he rightfully deserves.
ALLABOUTJAZZ - Samo Salamon
Sextet: Ela's Dream (Marc Meyers, April 2005, USA):
"With Ela's Dream, young Slovenian guitarist
Samo Salamon has made an album that is not only top shelf, it may be important
as well. With its variety, movement, and sheer joyous energy, this program
presents jazz as a music of almost infinite possibilies. And finally, with
four Europeans in the band, Salamon's group swings like mad, making a powerful
statement that European jazz musicians are making music that equals, and
arguably surpasses, in both creativity and swing, a lot of American jazz.
Salamon plays guitar with a serrated edge, giving
him a sound somewhare between John Scofield, with whom he once studied,
and Sonny Sharrock. He adds an almost dizzying energy, and he swings hard.
The net effect is what Ornette Coleman might sound like if his primary
instrument were guitar instead of alto saxophone. At times, Salamon's writing,
with its catchy themes, also bears an Ornette influence. Further, his compositions,
with their changing tempos, time signatures, and multiple themes, give
the album a nearly epic sweep.
For example, “Coffee With A Girl” is, in Salamon's
words, “in the style of Ornette Coleman.” Indeed it is, and after the bumptious
theme and brief intervals of collective improvising, the band launches
into a driving, medium-up swing, supporting wonderful solos by the leader
and David Binney. Then they riff, and settle into a medium, but no less
swinging, tempo, and Succi roars on bass clarinet.
By contrast, “Broken Windows” starts with a powerful
guitar solo, after which the rhythm section plays a pattern in a fast 5/4
groove, and Binney and Succi, this time on alto, engage in fiery exchanges,
folding into collective improvising, an alto riff, and a Salamon and Kaucic
duet that, with its power and intensity, recalls Trane and Elvin Jones
reaching for the stars. Only it's not; it's something new that could only
have come from these musicians, in this time. Binney and the rhythm section
score again during the middle section of the title tune, which features
a long, fine alto solo taken at a rip-roaring, very fast, 4/4 swing tempo.
It's safe to say that there's never a dull moment
on Ela's Dream."
ALLABOUTJAZZ - PUBLISHER'S
PICK OF THE WEEK (Michael Ricci, May 2005, USA):
Pick of the week along with GARY BURTON'S Next
Generation!!!!!
GOLDMINE MAGAZINE (Joe
Milliken, May 2005, USA):
SAMO SALAMON SEXTET
Ela's Dream
Splasc(h) Records CDH 869.2
Slovenian-born jazz guitarist/composer Samo Salamon
releases his fourth CD titled Ela's Dream on the Splasc(h) Records label,
featuring five original compositions recorded live in Cankarjev dom, Ljubljana,
in April of 2004.
Following up his critically acclaimed Ornethology
in 2003, Salamon's new sextet, which features Kyle Gregory on trumpet,
Dave Binney on alto sax, Achille Succi on alto sax and bass clarinet, Paolino
Dalla Porta on bass, and Zlatko Kaucic on drums, absolutely thrives in
a live setting, creating pristine melodies, uniquely conceptual solos,
odd-metered grooves, and emotional ballads.
The opening "Coffee With A Girl" is a Coltrane-influenced
conceptual piece featuring three innovative solos by Salamon, Binney on
alto, and Achille on bass clarinet. A ballad titled "Emotional Playground",
featuring an odd-metered groove in the middle section, is an emotional
piece which (revealed in the liner notes) is dedicated to a past girlfriend.
"There's Still Dog Food Left In It" opens with
an amazing bass solo from Dalla Porta, then glides into an innovative trumpet
solo by Gregory, before closing with inspired improvisation from all. Then
the title track features an energetic drum solo from Kaucic, and the closing
track "Broken Windows" creates an outstanding sax duet from Binney and
Succi.
Salamon is obviously a talented, creative, and
motivated guitarist and composer who is driven and inspired by the masterworks
of one Ornette Coleman. His guitar playing is in the vein of one of his
mentors John Scofield, yet still he develops his own tone, space and grace.
The future is truly bright for wherever Samo decides to venture from here.
ANIMA JAZZ (April 2005,
Italy):
"Una stimolante novità sarà poi
l'ascolto del SAMO SALAMON SEXTET guidato da questo giovane chitarrista
sloveno (Samo Salamon, appunto) che non è più "una valida
promessa", ma una solida certezza creativa. Grazie anche ad una validissima
ed internazionale formazione (Samo Salamon, chitarra; Kyle Gregory,tromba;
Dave Binney, sax alto; Achille Succi, sax alto e clarinetto basso; Paolino
Dalla Porta, contrabbasso e Zlatko Kaucic, batteria) potremo ascoltare
una grande performance di "Broken Windows" (S.Salamon) tratta dal CD "Ela's
Dream", pubblicato dalla "SPLASC(H) Records"."
ANIMA JAZZ (May 2005,
Italy):
Album Ela's Dream was album of the month among
some nice selection of albums:
VASCONCELOS - SALIS - CONSOLMAGNO 26.83
% (11)
DUO KLANG (Sergio Fedele - Roberto Dani)
2.44 % (1)
ADAMO - CORBINI - MAIER & FRANCESCHINI
21.95 % (9)
GIANLUIGI TROVESI & GIANNI COSCIA 2.44
% (1)
SAMO SALAMON SEXTET 43.90 % (18)
HEINZ GEISSER / GUERINO MAZZOLA Quartet
2.44 % (1)
JAZZREVIEW
- Samo Salamon Quartet: Ornethology (John Kelman, October 2003, USA)
"Samo Salamon is a young guitarist from Slovenia
who may qualify as one of the hardest working musicians around. Since emerging
on the scene a mere two years ago, he has recorded three albums with three
different groups, and has at least five other projects either on the go
or on the horizon. With Ornethology, Salamon pays tribute both to Ornette
Coleman and to one of his primary influences, John Scofield. The result
is a captivating program of contemporary jazz which, while there is some
emphasis on free playing, has a construction and focus which puts it well
ahead of other recordings of its kind.
Think early 90s Blue Note Scofield, with less
grease and blues and a more European aesthetic. While Salamon’s compositions
borrow liberally from the American tradition, there is a certain Eastern
European sensibility. “The Creative Force” starts as a tender ballad which,
no sooner is the mood established, moves into a 7/4 section which has the
rhythm section developing a very Middle Eastern feel that links this project
into one of Salamon’s other bands, the Ansasa Trio.
The opening track, “A Fake Monk” clearly owes
to its namesake, but from a very Scofield-like point of view. “Something
Ology” also owes a clear debt to Monk, with its liberal quoting of “Straight,
No Chaser”. Other tracks, such as “Where’s the Bill” are more direct homage
to the main subject of the recording. Salamon states in his liner notes,
in fact, that the idea for the recording came from extensive wood shedding
of Coleman’s Atlantic Years box, Beauty is a Rare Thing. One of the lessons
Salamon has learned is how to write tunes which seamlessly shift from tight
ensemble passages to total free playing, as evidenced by “Alien Child”.
If Salamon is still developing a voice on guitar,
his writing is remarkably developed and mature for his young age. As a
guitarist he is certainly capable, but the influences are still worn too
much on his sleeve. As a writer however, while the influences are also
evident, he has managed to assimilate them with his own life experiences
into something that is more distinctive and abstruse.
Salamon has surrounded himself with as group of
exceptional European musicians. While Salamon is still gaining widespread
experience, the rest of the group has a collective résumé
that includes work with artists as diverse as Kenny Wheeler, Enrico Rava,
Erik Friedlander, Lee Konitz, Carla Bley and Steve Coleman. Zlatko Kaucic
is a Slovenian drummer who deserves wider recognition; like Salamon he
has assimilated his own experiences with an obvious love of the American
tradition; he clearly understands the meaning of swing, and is a sensitive
and erudite player. Italian Achille Succi is confident on both alto saxophone
and bass clarinet. His alto solo on the ballad, “Two Poles”, is tender
and poignant. Bassist Salvatore Maiore, also from Italy, is a firm anchor
with a big, round sound.
Ornethology is strong evidence that Samo Salamon
is a young musician to watch; with a maturity and vision greater than
his years, there is little doubt that he is developing into an artist of
consequence; the only hope is that he can break free of the barriers
of his own country and garner the broader audience he so richly deserves."
JAZZREVIEW
- Ansasa Trio: Arabian Picnic (John Kelman, October 2003, USA):
"The Ansasa Trio consists of three young musicians
from Slovenia, who combine Afro-Cuban, Balcan, Indian and Arabic music
with the improvisational spirit of jazz to create an ethnic fusion that
is engaging and completely accessible. Their first recording, Arabian Picnic,
shows off the compositional abilities of guitarist Samo Salamon, with plenty
of interpretive input from bassist Samo Pecar and percussionist Andrej
Hrvatin. While Salamon and Pecar play instruments traditionally associated
with jazz, the trio finds its unique niche through the ethnic percussion
of Hrvatin, who plays instruments including darbouka, udu drum and bodhran.
While the track “Ten Camels” doesn’t stray far
from Arabic roots, “On a Sunday Afternoon at 3PM” starts as a relaxed ballad
before moving into an uptempo samba, the difference being that it is driven
rhythmically by udu drum and triangle.
Supplementing the trio on select tracks is Vasko
Atanasovski on soprano sax and flute, Zmago Turica on violin and Nino Mureskic
on additional percussion.
Salamon, a young guitarist who has already studied
with artists including John Scofield and Tim Brady, manages to inject jazz
harmony into pieces whose influences are strongly ethnic. Pecar shows his
funk roots on the aptly-titled “Strange Logic of a Strange Logic” which,
with all its twists and turns, still manages to hold together as a conceptual
whole. Percussionist Hrvatin, who has studied with Glen Velez as well as
Italian and Indian ethnic percussionists, is the find of the group. On
instruments as varied as jew’s harp, triangle, cymbals, bendir and kanjira,
he propels Salamon’s compositions.
Just twenty-five, Salamon is working hard to make
a name for himself, both as a guitarist and a composer. In just two years,
concurrent with completing studies in English and German literature, he
has managed to record three albums for his fledgling label, Samo Records.
Considering
his age and experience, both his writing and playing show a surprising
degree of maturity; one wonders where he’ll be five years from now.
Clearly, Salamon and the Ansasa Trio are artists
worth watching. Arabian Picnic is a solid debut recording from a group
that shows a great deal of potential; while there is a certain innocence,
born of youth, in the recording, it displays an intention and focus that
is surprising from such young players."
ALLABOUTJAZZ
(November 2003, USA):
Samo Salamon Quartet: Ornethology - PUBLISHER'S
BONUS PICK OF THE WEEK (11th November - 25th November 2003)
Ornethology
Samo Šalamon
(SAZAS) |
Wide Angles
Michael Brecker
(Verve) |
Live...
Dave Weckl
(Stretch) |
The Snake Decides
Evan Parker
(Psi) |
JAZZ
TIMES - JazzTimes Critics' Picks 2003 (Javier Quiñones, February
2004, USA):
Top 10 CDs
1. Pablo Ablanedo Alegría (Fresh Sound
New Talent)
2. Tord Gustavsen Trio Changing Places (ECM)
3. Abdoulaye N'Diaye Taoue (Enja)
4. Elio Villafranca Incantations (Pimienta)
5. Papo Vázquez Pirates Troubadours Carnival
In San Juan (Cubop)
6. Samo Šalamon Quartet Ornethology
(Sazas)
7. Truco & Zaperoko Música Universal
(Libertad)
8. Tino Derado Luminescence (Sunnyside)
9. Poncho Sánchez Out of Sight (Concord
Picante)
10. Martin Scorsese The Blues (Hip-O)
Reissue
1. New Orleans Ragtime Orchestra Grace And Beauty
(Delmark)
2. Stephane Grappelli Grappelli plays Grappelli
(Inca Music)
3. Willie Bobo Bobo's Heat (Blue Note)
MUSICHEART,
SPAZIO CULTURA (December 2003, ITALY):
"Il giovane chitarrista sloveno Samo Salamon presenta
il suo progetto “Ornethology”, dedicato al grande Ornette Coleman. Tutte
composizioni originali per un jazz teso e lirico. Il gruppo, per la prima
volta in Italia, si esibiri mercoledi 10 dicembre alle 21.30 allo Spazio
Cultura ex Cerit a Pordenone, dopo aver partecipato al Festival Jazz Mitteleuropeo
di Roma. L’appuntamento si inserisce nelle proposte di Jazz Cube dedicate
alla musica di ispirazione afroamericana.
Samo Salamon definisce la musica come modern
free jazz, la critica specializzata ha osannato il suo disco. Chitarrista
e compositore jazz di grandissimo talento, come lo ha definito John Scofield
con il quale ha approfondito la sua formazione a New York nel Duemila,
inizia il suo percorso musicale studiando chitarra classica a Maribor e
chitarra jazz al conservatorio di Klagenfurt. Sempre nel Duemila divide
un progetto con il batterista Zlatko Kaucic e suona fra gli altri Kareem
Riggins, Fareed Haque, John Hicks, Gianluca Petrella, Achille Succi, Dusan
Novakov e Andrea Allione. E’ leader dell’ etno-jazz Ansasa Trio. Con questa
formazione pubblica nel 2002 l’album “Arabian Picnic”. Lo stesso anno registra
il primo disco del Samo Salamon Trio, “A Dream Come True”, che precede
il nuovo lavoro ispirato a Coleman, in compagnia del connazionale Zlatko
Kaucic, Salvatore Maiore e Kyle Gregory.
Zlatko Kaucic e uno dei migliori batteristi europei
dell’area jazz e della musica d’ improvvisazione. Nella carriera pie che
trentennale ha suonato ovunque nel vecchio e nel nuovo continente e registrato
9 dischi con jazzisti del calibro di Irene Schweitzer, Duško Goykovich,
John Lewis, Steve Lacy, Paul McCandless, Kenny Wheeler, Chuck Israels,
Paolo Fresu, Enrico Rava, Gianluigi Trovesi, Chico Freeman e molti altri.
Kyle Gregory ha studiato tromba classica e jazz
alla Berklee school of Music e nelle University dell' Indiana e del Nord
Colorado conseguendo il Diploma nel 1995 sotto la guida William Adam e
David Baker, due fra i pie importanti insegnanti degli Stati Uniti. Per
cinque anni ha ricoperto la cattedra di studi jazzistici presso l' University
Bradley a Peoria, Illinois. Nel 1990 ha ricevuto dal Governo americano
il prestigioso Fullbright Grant per la sua ricerca svolta in Ungheria su
Pedagogia musicale e improvvisazione. Ha collaborato con noti artisti jazz
e pop fra cui J.J. Johnson, D. Reeves, Bob Mintzer, The Spinners, The Temptations,
and Liza Minnelli. Vive a Verona dal 1998. Collabora con affermati musicisti
italiani tra i quali Francesco Bearzatti, Salvatore Maiore, Roberto Dani,
Simone Guiducci. Dirige la Abbey Town Jazz Orchestra, giovane formazione
friulana con la quale si e esibito pie volte nella nostra regione Salvatore
Maiore e uno dei pie prestigiosi bassisti italiani, ha ottenuto numerosi
riconoscimenti in tutta Europa. La lista dei musicisti con i quali ha suonato
comprende il grande Lee Konitz, Enrico Pierannunzi, Billy Cobham, Franco
D'Andrea, Butch Morris, Joseph Jarman, Steve Grossman, Cedar Walton, Flavio
Boltro, Roberto Gatto, Eliot Zigmund, Gianni Coscia, Gianluigi Trovasi
e molti altri."
EJAZZNEWS
(October 2003, USA):
"Samo Salamon is a young guitarist from Slovenia
who may qualify as one of the hardest working musicians around. Since emerging
on the scene a mere two years ago, he has recorded three albums with three
different groups, and has at least five other projects either on the go
or on the horizon. With Ornethology, Salamon pays tribute both to Ornette
Coleman and to one of his primary influences, John Scofield. The result
is a captivating program of contemporary jazz which, while there is some
emphasis on free playing, has a construction and focus which puts it well
ahead of other recordings of its kind.
Think early 90s Blue Note Scofield, with less
grease and blues and a more European aesthetic. While Salamon’s compositions
borrow liberally from the American tradition, there is a certain Eastern
European sensibility. “The Creative Force” starts as a tender ballad which,
no sooner is the mood established, moves into a 7/4 section which has the
rhythm section developing a very Middle Eastern feel that links this project
into one of Salamon’s other bands, the Ansasa Trio.
The opening track, “A Fake Monk” clearly owes
to its namesake, but from a very Scofield-like point of view. “Something
Ology” also owes a clear debt to Monk, with its liberal quoting of “Straight,
No Chaser”. Other tracks, such as “Where’s the Bill” are more direct homage
to the main subject of the recording. Salamon states in his liner notes,
in fact, that the idea for the recording came from extensive wood shedding
of Coleman’s Atlantic Years box, Beauty is a Rare Thing. One of the lessons
Salamon has learned is how to write tunes which seamlessly shift from tight
ensemble passages to total free playing, as evidenced by “Alien Child”.
If Salamon is still developing a voice on guitar,
his
writing is remarkably developed and mature for his young age. As a
guitarist he is certainly capable, but the influences are still worn too
much on his sleeve. As a writer however, while the influences are also
evident, he has managed to assimilate them with his own life experiences
into something that is more distinctive and abstruse.
Salamon has surrounded himself with as group of
exceptional European musicians. While Salamon is still gaining widespread
experience, the rest of the group has a collective résumé
that includes work with artists as diverse as Kenny Wheeler, Enrico Rava,
Erik Friedlander, Lee Konitz, Carla Bley and Steve Coleman. Zlatko Kaucic
is a Slovenian drummer who deserves wider recognition; like Salamon he
has assimilated his own experiences with an obvious love of the American
tradition; he clearly understands the meaning of swing, and is a sensitive
and erudite player. Italian Achille Succi is confident on both alto saxophone
and bass clarinet. His alto solo on the ballad, “Two Poles”, is tender
and poignant. Bassist Salvatore Maiore, also from Italy, is a firm anchor
with a big, round sound.
Ornethology is strong evidence that Samo Salamon
is a young musician to watch; with a maturity and vision greater than his
years, there is little doubt that he is developing into an artist of consequence;
the only hope is that he can break free of the barriers of his own country
and garner the broader audience he so richly deserves."
ALLABOUTJAZZ
- Ornette's Slovenian Hands (Javier Quinones, October 2003, USA):
Brandishing an Ibañez AF-200 guitar, which
he describes as “a similar model as the AS-200, which John Scofield uses,
but with a thicker body,” Samo Šalamon stirs up freeing jazz from Slovenia.
As one of the most notable emerging careers from
that centrally located European country, youthful daring unmasks someone
who can play as beautifully and exotic as the flowers of the Kamnik leek,
darkened as Hrastovlje’s Danse Macabre fresco, or as picturesque and open
as Maribor’s Main Square. Engaging explorations into “ethno jazz” with
the Ansasa Trio, or his take on Ornette Coleman in Ornethology, aren’t
going to drive audiences in throngs to the Cankarjev dom because, as he
puts it, “the jazz situation in Slovenia is not great. The music I make,
as well as that of my drummer and mentor Zlatko Kaucic, is too advanced
for Slovenians. I don't think the majority is ready. Although I got fantastic
national and international reviews, the labels sign mainstream jazz players
and easy listening music that is not exciting and moving. In addition,
there aren't many musicians that play such style of music in Slovenia.
As luck would have it, I have played with guys from Italy who are more
advanced.” Šalamon adds that aside from the jazz scene, in Slovenia “music
life is not really shiny.” Thus, he has to teach guitar to survive. “You
can live off music if you sell out,” the Scofield admirer adds, “if you
work with pop bands and stuff like that, but I don't want to do that. I
want to play music that I like and not to sell out. I think by being honest
and sincere one can still make it. That, at least is what I hope.”
Ornethology is the result of his Coleman inspired
studies and the Slovenian’s tale of discovery reveals the usual pattern
of viral dissemination among musicians so thoroughly enhanced –as well
as threatened– by today’s technological advances. Šalamon discovered Coleman
at 21 “when Zlatko Kaucic, the drummer in the quartet, who played with
Steve Lacy for years, introduced me to Ornette, but I wasn't ready then.
It was too heavy. Then, last year I got the Complete Atlantic Recordings,
which really knocked me out. I transcribed all the themes and some Ornette
solos as I'm still transcribing them. This music changed jazz. How true
the title The Shape of Jazz to Come is. I really like Ornette's themes,
especially his phrasing, which I try to transfer to guitar. The title of
the recording, Ornethology, or the scientific study of Ornette Coleman
if you may, is a dedication to Ornette's music. Some of his concepts from
40 years ago were used, but integrated with my own ideas and other influences.
I think something new was created nonetheless.”
Furthermore, for the Slovenian, Coleman “is the
most melodic player in the history of jazz. I really like his classic quartet.
I also like the later trios with Izenson and Moffett and the quartet with
Dewey Redman. As for harmolodics, is seen also in this quartet. In it,
however, I am the composer of all tunes and its leader, yet I do not have
the primary function. We all are on the same level where equality of all
instruments is important. That gives us the possibilities of the interplay
and higher communication.”
“Ornethology, or the scientific study of Ornette
Coleman... Some of his concepts from 40 years ago were used, but integrated
with my own ideas and other influences. I think something new was created
nonetheless.”
In talking about the production itself, as well
as the musicians, Šalamon is stereotypically self-critical, albeit effusive
in his praises too. “The production of the album could be a lot better,
but the personnel here in Slovenia is not used to this kind of music, so
it is how it is. I think the most important thing is that the music is
great, because then you forget about other factors. The musicians on this
project, however, were fantastic. I called up drummer Kaucic, a musical
role model, fantastic person, favorite musician of mine, excellent composer
and performer, who played with figures ranging from Kenny Wheeler, or Steve
Lacy, to Paolo Fresu. Then on the bass is one of the best Italian players
Salvatore Maiore, featuring great sound and abilities. It was the right
choice. What proved most surprising was the chemistry with the alto sax
and bass clarinet player Achille Succi, whose playing I really love. He
is one of the most melodic players I have heard and had the ability to
play with. We developed a great –almost telepathical– understanding. That’s
nice! I think we got the chemistry going in the spirit of Ornette and I
hope more people will be able to witness this.”
On occasion, however, the quartet performs with
trombonist Gianluca Petrella. “I think the music gets a different character,
since trombone is a different instrument with different abilities. Although
I have to say that I prefer the bass clarinet and alto sax combination
since it is more versatile, at least with these tunes, which were written
for these two instruments. Although it will be interesting to see and to
hear this material performed by other players. In the future, we will play
with the trumpet player Kyle Gregory and later in 2004 with Ralph Alessi
and Chris Speed. It will be exciting to hear some stuff with some new tunes
also.”
Under such social, cultural and musical conditions,
I wondered how the audiences react to the quartet’s performances. “The
audience,” according to the guitarist, “like the energy of the band. Kaucic
is one of the more interesting drummers I've heard. He has his own way
of playing. One can really see his experiences with Lacy, Archie Shepp
or Wheeler; so the audience really senses that and he attracts many people.
It depends where we play, on the festivals that are used to this more avant-garde
music, the reactions are great, while in some places this music sounds
too heavy. I hope, nonetheless, that we will be able to wake people to
see that one can be really creative. All I want to do is to play my own
music and maybe present it to a larger audience because it is really interesting.
Of course, at this moment it is very hard, since I do everything by myself.
It is tough, but I'm working hard.”
His guitar is equipped with D'addario strings,
Chrome 0.11. He aspires to be sponsored, at least by D'addario as “it's
really hard to get them here in Slovenia. Some times I play for a couple
of months with the same strings, which worsens the sound. I should change
them every two weeks or so, but as I said it is hard to get them and they
are quite expensive here.” He also features a set up including “a Fender
Concert amp, which is similar to a Twin Reverb, but I think that it has
a nicer, fuller and thicker sound. I love it! As far as the effects are
concerned, I'm not really such a freak. I use mainly some chorus, really
changed with the frequencies, some distortion, but not much. I use that
from my multi effect Boss GT-5!”
ALLABOUTJAZZ
(Javier Quinones, October 2003, USA):
Ornethology - Samo Šalamon Quartet | SAZAS
Quick and to the Point: Ornette Coleman and John
Scofield ought to be proud…
"A musical convergence between Ornette Coleman,
Slovenia and John Scofield doesn’t figure high in any jazz critic’s list
of music to look for. Although not exhaustive, the previous three parameters
of understanding, however, do serve as guidelines for Ornethology. Leader
Samo Šalamon is also a figure of note in the Ansasa Trio. Following the
leader isn’t this release’s game though. The material is autonomously arranged,
or freely coordinated if you may. Hence, the need for musicians versed
and musically savvy, not only on various jazz forms, but also in their
respective scholarly and folk musical training. They shine through on all
regards interpreting a highly contemporary repertoire that has swing and
blues inevitably embedded in its organized jazz free forms.
As a guitarist, the Slovenian young player features
intensive technique that bodes well for material –mostly of his penmanship–
inspired by the study of the Texan’s key Atlantic recordings. Although
admittedly predisposed towards Scofield, Šalamon asserts himself through
such influence –as well as Coleman’s– coming through on his own, using
singular single note, chords, and ideas rendering various jazz undercurrents
with resolve, depth and inventiveness. Never indulgent, disciplined and
eager, Šalamon is major league material.
The writing is curiously versatile, although conceptually
coherent, even during the briefer pieces peppered through to highlight
each player by himself. None lasts even two minutes, all are worthy endeavors.
“Jaka The Dog,” begins with percussive/cymbal aquatic splashes, segueing
into a woodsier run by Zlatko Kauèiè. Bassist Salvatore Maiore
arched the rough and vibrating “Major Salva.” Šalamon plays around with
various textures and sci-fi like effects in “Samoel,” while clarinetist
and saxophonist Achille Succi floatingly laments his alto on “Achille.”
Brevity, however, doesn’t limit the extension of the rest of the material,
which varies in texture, nature, tempo shifts, thematic development, as
well as duration itself. The quartet keeps matters interesting and moving.
The sonic personality provided by the partial
use of bass clarinet, balanced on the other end with alto sax on other
compositions, provides rare harmonic gifts. Evident in the opener, and
revealing yet another convergence in its title, it is also a fine soloing
medium. “Where’s the Bill,” “Something Ology,” and “Humpty Dumpty” respectively
lure the listener with modern jazz, be bop and swing into the freer world
of this remarkable quartet. Since the group has also performed the material
with Gianluca Petrella performing on trombone, although not represented
in the recording, one must wonder how the repertoire responds to such an
adaptation. Jazz critics, however, ought to add this one to their “To
Do” lists…"
ALLABOUTJAZZ
(Javier Quinones, September 2003, USA):
A Slovenian jazz picnic!
This Slovenian picnic of Eastern European, Central
Asian and Middle Eastern musical fares entails drinking jazz wine from
Primorje, cutting some black hash from musky and sticky harmonic and melodic
blocks, gingerly and excitedly placed on the bowl of a communal water pipe
filled with rose and mint water for a refreshing smoke. As the picnic and
the day ebb towards twilight, friend, family, foe and even animals share
a hearty and meaty jota meal of outstanding grooves as is the one found
on “Strange Logic Of A Strange Logic.”
The worldly funk bass tang from the hash, as well
as the aromas of the well-done guitar, rise amidst gold-toothed laughter
and mirth as the spiced goat cheese is served on flat breads, precious
and pungent kmecka pojedina (farmer’s feast) cooked with fingered percussion,
against a strumming background entertaining around an open pit fire… Welcome
to Slovenian jazz, Ansasa style.
Arabian Picnic is a production featuring the reinforced
Ansasa Trio with strong-willed jazz proclivities, played mostly in relaxed
tempos, with odd and familiar meters, novel rhythmic and percussive facilitations.
The melodic enchantment and challenging depth borders into festive human
jazz ethnicity, as on “The Judgement Tower.” Therein Vasko Atanasovski
burns refreshingly hot on the soprano, while Samo Pe?ar lays on nasty bass
funk, with Andrej Hrvatin’s high-leveled drumming bracing all within the
elegant and fragrant guitar lines from Šalamon. It is a musical gift
of great beauty, as is its opening counterpart, “Leeloo.”
As refreshing as a dandelion salad, this recording
is a fine example of how much jazz there is to hear out there as its future
is now, and has been for a while now…"
JAZZLIVE
(Josef Pepsch Muska, September 2003, Austria):
"The Slovenian guitarist Samo Salamon faces himself
on the CD Ornethology quite intensively with the music of Ornette Coleman.
Interestingly is Salamon closer to the Coleman music from the 60s than
to his later projects with his group Prime Time. The comparison and the
influence doesn't happen through cover versions of the compositions of
Ornette (Humpty Dumpty is the only Ornette Coleman tune on the CD), on
the contrary Salamon tries to catch the fascination of Ornette's music
in his own tunes. He suceeds in this brilliantly and although the fact
that Ornette's spirit lives, the music is still the one of the Salamon
Quartet. Especially worth mentioning, since it is not so common but therefore
also more interesting, is the lineup of the group. Bass and drums in interplay
with the guitar are not so rare, but if we add a bass clarinet to that,
then we get something exceptional. The mix of guitar and bass clarinet
lines are beside the passages, where almost the whole group enters into
the world of free improvisation, the strongest moments on Ornethology.
I
would also like to mention that there are for me no weak moments here!"
JAZZLIVE
(Josef Pepsch Muska, September 2003, Austria):
"Samo Salamon and his co-musicians are here on
a journey into the Arabian space. The Ansasa Trio and the guest musicians
show a successful blend of different musical traditions."
JAZZ
DIMENSIONS (Carina Prange, September 2003, Germany):
"Ornethology is and album with the Music full
of drive, activity, creativty and sometimes even agressiveness - however
not forgetting also the quieter moments. The goal of the guitarist Samo
Salamon was a transformation of Ornette Coleman's musical concepts - not
without reason has the CD such a title.
In this transformation wander the compositions
from Salamon to the lands of modern jazz, free improvisation and experiments
in the electronic way, however the latter without using complex technical
equipment. Ornethology takes the listener into the deeps of the exciting
compositions and of the strong sound og the group.
Other members of the group beside Salamon are
Zlatko Kaucic on Drums and Percussion, Achille Succi (a-sax, b-cl) and
Salvatore Maiore (b). They all have enormous presence, concentration and
self-confidence in playing and experimenting.
In the end this is a rewarding and highly interesting
album from Slovenia - in the first line with the strong compositions from
Salamon, who is showing to the jazzers from the western Europe, how easily
can we integrate eastern european rhythms into the western music. Intersting
things will come from this direction."
GOLDMINE
MAGAZINE (Joe Milliken , December 2003, USA):
"Slovenian jazz guitarist Samo Salamon's latest
titled "Ornethology " is the culmination of both a study and exercise,
a realization and development derived from some of the musical ideas and
concepts of jazz legend Ornette Coleman.
Salamon spent an extensive period of time listening
to Coleman's complete Atlantic Records recordings, transcribing the entire
catalog, and then studying and exploring Ornette's unique concepts from
that period and how it would influence his own thinking, and composing.
The end result is Ornethology".
Along with Zlatko Kaucic on drums and percussion,
Achille Succi on alto saxophone and bass clarinet, and Salvatore Maiore
on bass, Salamon's quartet creates an inventive mix of improvisation with
tradition. Samo's compositions show a maturity and understanding far beyond
his years!
Salamon has a unique and distinguishable guitar
sound as well, his John Scofield influence apparent, and he creates remarkable
phrasing with bass clarinet player Succi. His solos are accurate and articulate,
yet soft and intinate when need be.
Overall "Ornethology" is an energetic, yet disciplined
interpretation of Monk-influenced compositions, and still made creative
and personal by Salamon. He is a composer and guitarist beyond his years,
and a force to be reckoned with."
DER
STANDARD (December 2003, Austria):
"The Samo Salamon Ornethology Quartet is a first
class jazz ensemble that is playing exciting compositions."
IL
GAZZETTINO (December 2003, Italy):
Omaggio a Coleman del Salamon Quartet
L'appuntamento dicembrino di Jazz Cube ha proposto
un programma dedicato a Ornette Coleman, tratto dal cd "Ornethology" del
giovane chitarrista sloveno Samo Salamon. In particolare la musica e ispirata
dal periodo delle incisioni Atlantic del sassofonista texano, quello degli
esordi con il quartetto negli anni Sessanta; opere che appartengono alla
classicita del jazz e della musica del Novecento e anche se qualche attardato
nostalgico continua a considerarle "troppo spinte". Rispetto alla formazione
presente sul disco, per le due date di Roma e Pordenone nel gruppo figura
il trombettista Kyle Gregory in luogo del sassofonista Achille Succi che
affianca il leader e Salvatore Maiore al contrabbasso e Zlatko Kaucic alla
batteria. Una formazione transnazionale che testimonia legami tra musicisti
destinati ad avere ancora piu slancio con l'imminente ingresso in Europa
della repubblica slovena. Molto belli in temi dei brani prevalentemente
nel registro acuto, di vaglia il livello di assoli e collettivi sviluppati
dentro le strutture e verso il loro superamento. Le lettura della musica
colemaniana e fresca e leggera, non deferente o imitativa e ne coglie lo
spirito aperto e libertario. Gregory ha ampliato la tavolozza dei suoi
colori utilizzando tromba, cornetta e tromba piccola sfoggiando un suono
nitido e potente con note prolungate e veementi. Salamon ha preferito arricchire
le trame collettive con i suoi interventi riservandosi contenuti spunti
solistici nel segno della lezione di John Scofield. Raffinate le punteggiature
ritmiche, con prelievi dal vasto catalogo della tradizione afroamericana
dal New Orleans al funk, ma non sono mancate deflagrazioni e contrasti
un'exploit "all'olandese" delle bacchette di Kaucic su di un posacenere.
Il segno di uno squardo divertito sulla presunta seriosita accigliata del
free.
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