Reviews
 

SAMO SALAMON QUARTETS: Stretching Out (2013) Samo Records Donny McCaslin - tenor sax (CD 1) Dominique Pifarely - violin (CD 2) Samo Salamon - guitar John Hebert - bass (CD 1) Bruno Chevillon - bass (CD 2) Gerald Cleaver - drums (CD 1) Roberto Dani - drums (CD 2)

JAZZ WEEKLY (George Harris, December 2013):

Guitarist Samo Salamon has two different quartets on this double cd set; one being an American team with Donny McCaslin/ts, John Hebert/b and Gerald Cleaver/dr, and the European band fatureing Dominique Pifarely/vio, Bruno Chevillon/b and Roberto Dani/dr. Both recordings are from concert performances,yet each band takes a different approach to pleasing the audiences.

The US band performs in essence three songs in its 60+ minute set, a medley that clocks in at over 30 minutes, and two other tunes that go over the 15 minute mark. The remarkable thing about this setup is that the solos by McCaslin and Salamon, while indeed long, never seem over indulgent and there are no real gratuitous drum or bass solos in which to get up and take a walk outside for some fresh air. “My Rain/Kei’s Blues” lumbers along quite nimbly, as Salamon’s guitar goes from lithe to caustic, and McCaslin is rich as milk chocolate throughout. The closing “Ice Storm” has a modal Coltrane-ish yearn to it, but the energy never implodes. Hot, but kept cool.

The European quartet divides their set between 8 songs that range from 6 to 13 minutes. The moods change much more quickly than their American counterparts, with some of the songs like “No Photos!” and “The Land of the Artichokes” jumping from lithe romanticism to cuboid percussion at the drop of a plectrum. Pifarely’s violin is rich and yearning, and can at one point milk a note bel canto, and the next turn the melody upside down. The drum/bass team get a chance to work out a bit together in solo/duet format a bit more here, and just when you think a piece such as “Pointe Du Raz” is going to spontaneously combust, they bring it all back home. Exciting and challenging!

ALLABOUTJAZZ (Hrayr Attarian, November 2013):

Slovenian master guitarist and composer Samo Šalamon is one of those rare musicians whose versatility is not aimless and his unique, instantly recognizable, style is far from predictable. Both of these characteristics are amply demonstrated on his fourteenth release, the double disc set Stretching Out comprising of two live sessions captured in 2008, and 2012.

On the earlier date, Šalamon leads an all American quartet on three of his long and fiery originals that crackle with spontaneity and raw but elegant brio. On "My Rain/Kei's Blues," saxophonist Donny McCaslin lets loose an energetic and organic improvisation that gains strength with each bar growing more unbridled without losing sight of its melodic essence. Šalamon's blistering, bluesy sonic swells lay down otherworldly, provocative and angular harmonies that flow like hot lava over drummer Gerald Cleaver's rollicking, primal and vibrant polyrhythms. Cleaver's galloping cymbal strikes and drumbeats support bassist John Hébert's hypnotic, intricate reverberating extemporization that closes the tune with an explosive passion.

The freewheeling "Ice Storm" has a singular, logical structure that allows for abundant individual expression within its own dynamic construct. The exquisite chaos of a Hebert/Cleaver duet ushers in McCaslin's abstract, stormy tenor that packs a visceral fury. Šalamon's own spiritually rich, crystalline tones cascade in colorful explosions over Cleaver's manic percussion.

The second recording is with a European band hailing from France and Italy. The intervening four years have endowed Šalamon's sound with a poetic maturity without tempering his explorative enthusiasm. All of the eight tracks have a strong dramatic sense with hints of mysticism. The fairy tale like "Erdevan" for instance has a dark and mythical ambience that drummer Roberto Dani and bassist Bruno Chevillon's haunting vamps create. Violinist Dominique Pifarely fills the space with a complex, yearning and intense song. Šalamon's resonant, Levantine solo enhances the nocturnal feel.

The Zen "Land of Artichokes" on the other hand opens with Chevillon's sparse bass lines echoing in silence evolve into a stimulating unaccompanied ad lib creation with a touch of eastern quietism. Midway through the song, Dani's rumbling drums enter followed by pizzicato strings reminiscent of Japanese folk music. Pifarely's delightfully atonal violin ebbs and flows over Dani's edgy, intelligently scattered clinks and thrums. Chevillon's ominous refrains percolate leading to an energetic group play that brings the composition to a cinematically perfect conclusion.

As a bandleader Šalamon allows his sidemen plenty room to shine. The melancholic and somber "Molene" is marked by Chevillon and Pifarely's achingly beautiful and elegiac con arco dialogue. The ethereal backdrop of tolling guitar and solemn drums expands into an eerie, flood of notes that paints a barren yet evocative soundscape. Šalamon's ardent zeal and Pifarely's thrillingly dissonant chant lead to an outraged, righteous group cry that ends the tune with an intense theatricality.

With each new album Šalamon outdoes himself as an artist and Stretching Out is no exception. This handsomely packaged double CD has all the makings of an instant classic.

ALLABOUTJAZZ (Jakob Baekgaard, October 2013):

Cosmopolitan is a term that is often used to describe musicians, but in the case of Slovenian guitarist Samo Salamon, it is certainly a description that fits.

Salamon has turned the restless nature of the travelling musician into an aesthetic strategy and has worked with two different quartets that represent his different musical sides: the hip underground of the New York jazz scene and the experimental sensibility of the European avant-garde.

Stretching Out is an ambitious double album that offers a full portrait of his working groups. Disc one consists of four compositions played by Salamon's US quartet with tenor saxophonist Donny McCaslin, bassist John Hebert and drummer Gerald Cleaver. This is epic stuff where the term "stretching out" is taken at face value. McCaslin spins elegant narrative lines and the propulsive drumming of Cleaver keeps things boiling while the groove is in the hands of Hebert. Salamon's motifs twist and turn, but there's a melodic sensibility at heart, which comes across on the unison playfulness on "Swamp Area" where the guitarist and McCaslin play in close tandem.

Disc 2 finds Salamon playing with his European quartet with bassist Bruno Chevillon and drummer Roberto Dani. The most interesting addition, however, is violinist Dominique Pifarely. He plays in the vein of Jeff Gauthier and Billy Bang and his playing is a joy to behold as he explores the textures of his instrument without sacrificing the melody. Like Salamon, Pifarely is a melodic experimentalist and a refreshing musical voice. The group covers a wide spectrum, ranging from subtle lyrical Steve Reich -like repetition on "Molene" to shades of progressive rock on "The Puffins We Never Saw," with heavily distorted chords and scratching violin. Stretching Out is the perfect portrait of one of the most interesting guitarists in modern jazz. Salamon continues to stretch the boundaries of music and here he engages in an intense dialogue with his working groups and creates an expression that is all his own.

SAMO SALAMON TRIO feat. MICHEL GODARD & ROBERTO DANI: Eleven Stories (2012) Samo Records Samo Salamon - guitar Michel Godard - tuba, electric bass Roberto Dani - drums

JAZZ WORD (John Barron, September 2012):

Eleven Stories is a sequel to Samo Salamon's excellent 2009 release Live! featuring drummer Roberto Dani and Michel Godard on tuba and electric bass. The prolific guitarist guides his trio to fertile ground with his meditative compositions, at times playing purposely sparse to bring out the most in Dani and Godard. As a technician on the tuba Godard is second to none. His sweeping runs and sharp tone are truly sublime. Tuba is front-and-center with convincing lyricism and soul on the ballad "Chinese Bath." Salamon's multi-faceted approach sets the pace for most of the disc. From the opening unaccompanied "Preface" with piano-like voice leading, to the blistering and aggressive solo turn on "Dark Road," Salamon conveys his ideas with a musical sense that surpasses the assumed confines of the guitar. His solo cadenza on "White Herons on Green Meadows" is but one of many beautiful statements heard throughout.

ALLABOUTJAZZ (Hrayr Attarian, October 2012):

Slovenian guitarist Samo Šalamon has earned many accolades throughout his decade-long recording career; listening to Eleven Stories it is quite clear why. A fearless explorer of sonic landscapes, Šalamon and his trio of the past six years presents an exhilarating program of eleven elegiac tracks, each one a gem in its own right.

The somewhat whimsical "Cold Feet" is an intelligent, almost surreal, conversation among the three musicians, during which Šalamon's cool and edgy guitar lines contrast with tubaist Michel Godard's deep and dark choruses and Roberto Dani's invigorating drumming. Šalamon flirts with some rock and roll stylings before the collective improvisation comes to an abrupt and dramatic end.

One of the most agile tubaists in jazz since the virtuosic Ray Draper, Godard possesses a warm and lyrical voice on this cumbersome horn. His intricate and mellifluous solo on the fantastic "Chinese Bath" adds depth and expansiveness, like a wind within which Dani's percussion chimes Šalamon's guitar strings ring. Godard also showcases his prowess as an electric bassist on "Sour," as he punctuates, with his somber vamps, Šalamon's lilting tone and the Dani's simultaneously visceral and spiritual Dani.

As adventurous as his band mates, Dani is known for pushing the tonal boundaries of his kit; on the contemplative "Kei's Melody," his thudding thrums enhance the ominous ambience of Godard's breathy tuba, while his splashing cymbals brighten Šalamon's shimmering lines.

Not just confined to his compositions, Šalamon's creativity is also exhibited spontaneously. The impressionistic "Sunday" is an angular concerto that starts quietly with Godard's yearning tuba. Then, as the tempo picks up, it grows in lyricism and vibrancy and ends in a nocturnesque lullaby.

In contrast, the more abstract "White Herons on Green Meadows" spotlights Šalamon's harmonically complex extemporizations that set a crepuscular mood. As a bass and drums duo brings in slightly more traditional sounds, Šalamon's meandering guitar remains intellectually stimulating until it comes to a logical conclusion, back into the melody's rhythmic folds.

Šalamon, whose Ornethology (Samo Records 2003) was listed in The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums (Penguin Books 2010), has created a thematically cohesive and versatile opus with his thirteenth disc as a leader. This is yet another work that will surely stand the test of time.

JAZZ TIMES (Scott Albin, November 2012):

The eleven pieces that make up guitarist Salamon's Eleven Stories CD are best seen as the interconnected chapters of a novel, rather than a series of unrelated short stories. There's a similar ebb and flow, whether grounded or elusive, that runs through Salamon's original compositions (written especially for this group), and the music is always fascinating and often provocative. This is the fourth of Salamon's CDs since 2007 to feature Michel Godard on tuba and here on electric bass, and Roberto Dani on drums, and despite the unusual instrumentation, the trio's sensitive interaction should appeal once again to all but the most conservative of listeners. The music was recorded live during their European tour in April 2011.

Salamon's reverberating guitar and Godard's resounding electric bass set an enchanting mood on the opening "Preface," which seems to be a prelude to a melody that is introduced as "Sour," on the second track. Then Dani's restless percussive effects, utilizing gongs, cymbals, traps and bass drum, combine with Godard's stalking bass ostinato to dramatic and hypnotic result, eventually to be joined by Salamon's adamant chords. The sparse, insinuating theme's return is all the more appreciated by its stark contrast to what has gone before. Godard's tuba exudes bubbling, gaseous sounds to initiate "Cold Feet," with Salamon soon adding metallic tones to his rumblings. Dani's percussion then completes the intriguing mixture. The leader's contribution intensifies, as does Dani's, until the guitarist forsakes skronk for a more dulcet repeated motif that carries the work to its conclusion.
Godard's tuba engages Dani in an urgent duet to start "Ducks on Ice," Godard playing spurting quick-fingered passages against the drummer's persistently shifting patterns. Salamon enters wailing over the others, with electrifying phrases and riffs, and the threesome end the selection with eight unison bursts that mirror the string of notes Godard was running beneath the guitar solo. For "Three," Salamon and Godard's tuba unveil a whole tone scale that they alter dynamically and harmonically. Godard's alluring solo is trombone-like in its nimbleness, a definitive example of his outstanding ability on the challenging instrument. The comforting tune ends much as it began, mellow and pensive. A telegraph key message is tapped out by Salamon that slowly evolves in to the tense, staccato theme of "Dark Road." Electronic emanations then prevail until Salamon's blistering, compelling improv dominates over Godard's stabilizing bass lines and Dani's swirling drum work.

The contrapuntal intro to "Chinese Bath" is replaced by Salamon's Far East-tinged theme, his guitar taking on the quality of a koto, as Dani maintains a percussive banter. Godard's majestic tuba solo is richly intoned and enrapturing, and encompasses the remainder of the track. "White Herons on Green Meadows" is launched by ponderous long-tones from Godard's bass, and divergent delicate and airy fragmented phrases from Salamon, as Dani offers subtle shadings. Salamon's cascading unaccompanied pronouncement is executed with a lovely, glistening sound and moving expressiveness. Dani and then Godard rejoin him for an ecstatic resolution prior to coming full circle back to the evocative opening section. Salamon's dissonant, distorted free-form statement activates "Garlic and Olives," assisted by Dani's chattering rhythms, together developing a tense, expectant atmosphere that goes from crescendo to diminuendo in a flash. The piece then transforms itself into a riffing rock style workout over the final minute, as Godard's throbbing bass underscores Salamon's gushing guitar.
"Kei's Melody" features ethereal reflection on the part of guitar and tuba that is briefly supplanted by Dani's ominous mallet assertions, only to have the duo reappear to present repetitions of a scalar, ingratiating theme with various alterations for the duration. "Sundays" commences with an understated, murmuring motif from Salamon that supplies the foundation for Godard's absorbing, conversational tuba solo that swoops, swoons, and sighs. Guitar and tuba then reverse roles as Salamon improvises passionately in a groove somewhere between Pat Metheny and John McLaughlin, but predominantly his own. As Salamon subsides into melodic wonderment, Godard harmonizes with him for the last few soothing notes.

SAMO SALAMON BASSLESS TRIOS: Duality (2011) Samo Salamon - guitar Tim Berne - alto sax Achille Succi - alto sax Tom Rainey - drums Roberto Dani - drums

ALLABOUTJAZZ (Dan Bilawsky, November 2011):

By splitting the program between two different bass-less trios connected to opposite sides of the Atlantic, Slovenian guitarist Samo Salamon has managed to bridge the continental divide on Duality. This project could turn into a compare-and-contrast session on the music made by the two groups, alternately dubbed the "US Trio" and "European Trio," and that line of thinking, while merely providing one way of looking at the music, has merit. Salamon may helm both trios, but each group has a distinctive sound and style which sheds light on different facets of the guitarist's work.

Salamon has a fearless approach to guitar playing and writing that often marks him as an avant-garde thrill seeker when he tangles with the Americans, but he is a melody man at heart. His gentle guitar musings on the lone solo track ("Road To Nantucket") linger in the mind's heart long after the song has ended, but they're replaced by saxophonist Achille Succi's engrossing work when the European Trio arrives at "Nantucket." Succi and drummer Roberto Dani have each worked with Salamon on numerous occasions before, and their familiarity with him pays dividends on this project. Succi's saxophone takes on a tart quality that suits the music well when Salamon demands more heat, but he often provides a reedist's repose when the trio needs a break from the fast lane. His bass clarinet work brings welcome contrast to the program, and both of his horns blend well with Salamon's guitar. Dani has a deep understanding of Salamon's artistic process and intent, and he can act as a colorist or catalyst, depending on how the mood suits him.

While the European Trio dominates the program, performing on seven of the eleven tracks, the US contingent proves to be the more domineering of the two units. American improvisers may often be accused of being more conservative than their European counterparts, but alto saxophonist Tim Berne and drummer Tom Rainey turn that theory on its head here. Pungent sounds, fractured and knotty riffs, angular lines and torrential downpours of notes come into play when this trio takes center stage. They mix the esoteric with the exciting to good effect on "Mea Culpa" and elsewhere, but their music can also be a bit exhausting at times. While that fact may or may not account for Salamon's decision to give more space to the European Trio, it certainly allows them to bring the American's fire under control, while also showing the guitarist to be as shrewd an album programmer as he is a guitarist and composer.

ALLABOUTJAZZ (Nic Jones, December 2011):

Guitarist Samo Salamon is one of those players quietly but fully engaged with moving the music forward. His vocabulary is entirely his own by dint of the individuality of phrasing that pervades the music of both trios featured in this set. Despite the similarity of instrumentation, the two groups' different personalities is testament to what's going down. The US trio, with alto saxophonist Tim Berne and drummer Tom Rainey, flirts with the kind of music Ornette Coleman was producing with Prime Time, albeit with a greater measure of reflection and less febrile energy. "Mea Culpa," in particular, is marked by both restraint and a feeling that at any moment the proceedings might not only erupt but will become something completely different. The duo passage played by Salamon and Rainey highlights this in no small part, but when Berne comes back in he takes the music in another direction.

On the aptly titled "Twists and Turns," Salamon and Berne played the head in unison and, whilst it's a knotty thing indeed, the rhythmic vitality and absence of a bassist combine to give the music a restlessly inquiring stamp.

The trio with reed player Achille Succi and drummer Roberto Dani is powered by a different source of energy, resulting in dynamic variation of no small order. This is notable on "Roofs in the City," where the leader's input gives the music momentum counterbalanced by Succi's reflections. Again, the overall effect is of music involving no little risk-taking, a quality which is always welcome. Both of these groups are appreciative of it, too, ensuring that their music both intrigues and delights, rewarding repeated listening every time.

RADIO ŠTUDENT (Mario Batelić, November 2011):

Mariborski kitarist Samo Šalamon nas je že navadil na pogoste in zelo kakovostne izdaje. Po januarja objavljenem albumu Almost Almond je zdaj pred nami že drugi njegov letošnji in skupno dvanajsti album. Naslova zasedbe – Samo Šalamon Bassless Trio – in samega albuma, Duality, nakazujeta tokratni format. Če se je na Almost Almond predstavil v kitarskem triu, nam tokrat v posluh ponuja kar dva tria, ki ju druži dejstvo, da v njih ni basista.

Obema trioma je skupno tudi to, da ob Šalamonu, ki je avtor vseh skladb, v njiju igrata po en saksofonist in bobnar. Trojki pa se razlikujeta v tem, da v prvem igrata Američana, saksofonist Tim Berne in bobnar Tom Rainey, v drugem pa Evropejca oziroma Italijana, pihalec Acchile Succi in bobnar Roberto Dani. Ta ugledna imena smo že srečevali ob Šalamonovem, prvič pa nam mariborski strunar streže s skupnimi posnetki z enim najbolj cenjenih ameriških saksofonistov Timom Bernom. Z njim in Raineyjem je Šalamon igral leta 2008 na Cankarjevih torkih in posnetki so očitno s tega koncerta, čeprav sta na albumu zapisana le mesec in letnica snemanja.

Posnetki z Bernom in Raineyjem tudi začenjajo album Duality in že od začetnih energičnih rifov nas glasbeniki potegnejo v središče razvejenega glasbenega mnogogovora. Berne in Šalamon si sprva izmenjujeta mamljiv, malodane funkovski rif ter prek njega začneta razvijati kompleksno strukturo, kjer se prispevka obeh solistov pregibata vsak po svoje, medtem ko Rainey s sinkopiranimi poudarki dodaja k vtisu neujemljivih in zankastih harmonij. Sledi navidezno umirjanje, v katerem se Berne prepusti lirizmu, medtem ko Šalamon in Rainey z abruptnimi in ostrimi potezami poskrbita, da ima skladba kljub liričnim pasažam ves čas nemiren in iščoč duh.

Značilnosti uvodne skladbe, torej prefinjeno združevanje kontrastov, tako v zvenu kot v samem načinu igranja, se v nadaljevanju glasbe ameriškega tria ponekod znova pojavijo, a pri kar nekaj skladbah glasbeniki raje stavijo na razigrano melodičnost. Le-ta, čeprav zelo všečna in mamljiva, pa spet ni osišče komadov, ki znova zaseda še radikalnejša zvočna polja z nabritima, kričečima saksofonom in kitaro ter razpršenimi bobni.

Prehod med zadnjim komadom ameriškega tria in prvim evropskega je zelo jasen – iz frenetičnega igranja v sanjavost. Čeprav nam tudi evropski trio ponudi precej žilave igre, so vendarle njegov »tour de force« všečne melodije. Te so enkrat, kot že rečeno, sanjave, drugič spet pa živahne in razburkane. Za ta drugi trio se najprej zdi, da igra bolj konvencionalno, vendar pa podrobno poslušanje tudi tukaj razkrije luciden Šalamonov čut za nianse in pretanjeno razdelitev vlog med inštrumenti.

Skladbe pri obeh triih tečeta po premišljeni dinamiki, ki se v obeh primerih sklene različno. Če je ameriški trio svoj del sklenil udarno, se evropski zlagoma utiša, kar postavi piko na i skozi album lepo razdelani ideji dualnosti. Še pred tem pa nam evropski trio ponudi svoje najboljše trenutke, ko Succi v predzadnjem in zadnjem komadu prime za basovski klarinet.

Tega se loteva s presunljivo previdnostjo in iz njega izvablja milozvočne, rahlo zatemnjene zvoke. Šalamonova kitara pa je v prvem od dveh sklepnih komadov sprva v ozadju, kjer niza akorde, podobne nežnemu prebiranju po klavirju. Kmalu pa se Šalamon s kombinacijo liričnih, zadržanih in bolj zapletenih solov prebije v ospredje, kjer mu nato Succijev klarinet parira z globokimi odrezavimi toni, ki delno prevzamejo vlogo basa.

Sklepni komad pa, kljub istemu inštrumentariju, ponuja spet zelo drugačno muziko. Komad se iz hitrega začetka z razigrano baterijo bobnov kaj kmalu prelevi v večslojno kompozicijo, ki ji uspe v slabih sedmih minutah postreči s številnimi in raznolikimi postopki grajenja dinamike in vzdrževanja negotove napetosti.

Album Duality, s katerim si Šalamon utrjuje pozicijo enega najzanimivejših in prepoznavnejših slovenskih jazzerjev, se po kakovosti, prepričljivosti igre in invenciji vpisuje med njegove najbolj zrele dosežke. Zapomnili si ga bomo po izjemni melodičnosti in seveda še posebej skrbno grajeni dinamiki, kar je bilo, spričo dejstva, da oba tria igrata brez basista, še dodatna in kar zahtevna naloga. Album je po eni strani svojevrsten rezime tistega, kar je Šalamon ustvarjal v zadnjih letih, po drugi pa potrditev njegove vitalnosti, prilagodljivosti različnim formatom ter ne nazadnje dokaz njegove izredne skladateljske in glasbeniške kondicije.

JAZZ TIMES (Scott Albin, November 2011):

This CD features two of Slovenian guitarist Salamon's "bassless trios," the US Trio with alto saxophonist Tim Berne and drummer Tom Rainey, and the European Trio with altoist-bass clarinetist Achille Succi and drummer Roberto Dani. The first four tracks were recorded during the US Trio's 2008 tour of Europe, while the last seven tracks with Succi and Dani come from a 2010 session.

The opening "Blistering" is a funky theme that inspires a Salamon solo that is an infectious exercise in call and response between thrusting upper and lower register phrases. Berne follows in suspended slow motion, soon building in intensity as the guitarist offers jagged commentary. "Flying Potatoes" has a similar structure to "Blistering," almost an extension of it, but welcome nonetheless for the apparent differences that emerge. A compelling alternate take in a sense.

"Mea Culpa" provides an outstanding example of the various appealing soundscapes Samo can create on his guitar seemingly at will, in this case from the Far East to India. Berne's penetrating tone and expressiveness are sustained throughout a solo of woven emotions. Salamon's John Scofield influence is quite evident in the circuitous head of "Twists and Turns," especially in the unison guitar/alto exposition of it, which evokes Scofield with Kenny Garrett. Past the theme, however, the trio ventures "outside" to cast their own identity in an extremely zealous contrapuntal workout, with Rainey more than holding his own.

Oddly enough, Salamon does not play a solo on any of the first three selections by his European Trio. "Falcon's Flight" has a long-toned stair-stepping theme that lends itself to Succi's piercing yet breathy delivery on alto. His solo at first unhurriedly delves into the thematic material, before introducing more ecstatic multi-noted, multiphonic exclamations. Salamon backs him with an ostinato that's more pianistic than string sounding. Succi's tone is reminiscent of Arthur Blythe's at times, capturing that same flavorful combination of sweetness and near shrillness.

"Roofs in the City" is essentially an alluringly robust vamp. Succi improvises unaccompanied in a contrastingly restrained legato fashion for the duration of this short piece. "Kei's Garden" suggests a raga in its melodic and rhythmic content, although Succi's bluesy alto, with a heavy vibrato, keeps at least one foot in the Western hemisphere. His solo is superb, building melodically with both deliberation and passion.

"Road to Nantucket" is a gracefully articulated solo performance by Salamon, yet another testament to his versatility. A memorable track, it serves as an extended intro to the succeeding "Nantucket," where Succi adds some bite to the prevailing tranquil mood. The guitarist surges into his own more extroverted statement before Succi reclaims the winding theme.

Succi switches to bass clarinet for the concluding two performances, displaying great overall control and remarkably sustained intonation on the difficult instrument, akin to the approach, command, and resulting brilliance of Michael Portal. Salamon's solo on "The Weight of One Daisy" is chock full of hurtling single-note lines, as Succi vamps effectively beneath him. This track possesses the same kind of simmering tranquility as "Nantucket." "Asking for a Break" offers perhaps the best display of this trio's rapport, as the dynamic drummer Dani is brought more noticeably into the swirling fray here than elsewhere.

All the diverse compositions on "Duality" are by Salamon, and after his now dozen or so CDs it can truly be said that he has come into his own as a complete jazz artist--player, composer, and arranger.

JAZZ WORD (John Barron, October 2011):

Adding to his noteworthy, self-produced discography, guitarist Samo Salamon explores the possibilities of a guitar-led trio minus a bass player on Duality. The first part of the disc features the Slovenian musician with American drummer Tom Rainey—who appeared on Salamon's previous release Almost Almond—and saxophonist Tim Berne. The second part finds Salamon alongside European companions Achille Succi, on saxophone and bass clarinet, and Roberto Dani on drums.

The U.S. trio tunes feature Salamon's riff-based compositions, with ample room for group interplay. The guitarist's distorted single-note lines, laced with large amounts of reverb match the intensity of Berne's cutting alto tone and Rainey's explorations. "Twists and Turns" is a climactic wild ride with guitar and sax in cacophonous stride and Rainey brilliantly riding alongside with subdued brush playing.

The European trio maintains a more plaintive approach, highlighting Succi's wailing lyricism, especially on the emotive "Falcon's Flight." The disc's shortest piece "Roofs in the City" begins with prog-rock characteristics and settles into a meditative saxophone cadenza. Succi's bass clarinet playing is impressive, adding inventive improvisations to "The Weight of One Daisy" and "Asking for a Break." Salamon showcases his solo playing in an unhurried, yet rollicking manner on "Road to Nantucket," a highlight of this memorable set of thoughtful, original jazz.

JAZZ REVIEW (Glenn Astarita, March 2012):

One of the more exciting and inventive improvising artists, Slovenian guitarist Samo Salamon's stylistic modus operandi, coupled with massive chops has earned him prominence within global, progressive-jazz circles. He seems comfortable with the flexibility of smaller ensembles, highlighted here with the dual bass-less trio formats, performing with like-minded and revered US and European musicians.

The first (US) set features alto saxophonist Tim Berne and drummer Tom Rainey. Here, the lack of a bassist instills an open forum, although Salamon does work the lower registers to support Berne at various intervals. With a pristine trio soundscape, the soloists engage in zinging dialogues and navigate through odd-metered unison choruses as Rainey dances and darts across the kit while also filling in the gaps.

The guitarist's animated spurts and intricately designed voicings amid some teaser-like breakouts nicely complement Berne's linear and yearning notes. They lash out atop undulating flows with breakneck phrasings and generate a staggered bop groove on the zesty, "Flying Potatoes." Moreover, Salamon imparts a twangy sound with twirling chord clusters, serving as a faint ostinato riff for Berne and Rainey.

Tracks 5-11 comprises multi-woodwind ace Achille Succi and first-call session drummer Roberto Dani offering a multihued contrast to the US session via concentrated flows and a broader tonal palate, largely due to Succi's bass clarinet work. However, the leader executes a rock riff on "Roofs in the City," where Succi's resonating alto sax choruses culminate into an ominous thematic climate, as the duo recomposes the primary melody. Nonetheless, there's no shortage of ideas during the vast improvisational segments, yet the band tones it down on the breezy and harmonically attractive piece, "Kei's Garden.

Duality is encapsulated by a venture-seeking aura. The musicians' articulations are staged with searching qualities as they toggle between introspection and aggression. Like a fine art piece, the music projects a surfeit of intriguing propositions and diametric angles. Indeed, a top-shelf product that beckons repeated listens.

ODZVEN (Jože Štucin, October 2011):

Samo Šalamon, beremo v njegovem spletnem CV-ju, se je rodil leta 1978 v Mariboru, kariero pa začel na glasbeni šoli v Mariboru, kjer je osem let študiral klasično kitaro. Pri devetnajstih letih se je začel zanimati za jazz, študirati (in verjetno preigravati) skladbe znanih jazzovskih ikon, se ukvarjati s transkripcijami njihovih solov, predvsem pa pisati lastne skladbe. Kombinacija klasične izobrazbe in spontanega jazzovskega navdušenja je vsekakor veliko pripomogla k njegovemu brzinskemu prodoru med »zanimive, obetavne, mlade in nadarjene«. Obenem je sodeloval v mnogih delavnicah in jam sessions. Decembra 2000 je odšel v New York, kjer se je učil pri mojstru jazza in kitarskem virtuozu Johnu Scofieldu, ki je odločilno vplival na njegov razvoj. Med bivanjem v New Yorku je srečal češkega jazzovskega virtuoza Rudyja Linka in dobil priložnost igrati z njim. Naslednje leto je v Trstu študiral pod mentorstvom Andrea Allioneja ter bil sprejet na jazzovski konservatorij v Celovcu, kjer se je glasbeno izpopolnjeval z Guidom Jeszenskim. Istega leta je sodeloval s kanadskim kitaristom Timom Bradyjem. Nato se je utrgal kreativni plaz, ki mu ni podobnega na domači sceni.

Samo Šalamon (Samo Salamon) je po pisanju uglednih medijev (Penguin Guide to Jazz, Guitar Player, Jazzreview, All About Jazz in drugih) »eden najzanimivejših kitaristov in komponistov mlajše generacije, ki so se v zadnjih letih pojavili na svetovni jazzovski sceni«. Plošče, ki jih izdaja v galopirajočem ritmu (več kot ducat realiziranih CD-jev in še veliko načrtovanih), pričajo o izjemni erupciji, o bliskovitem vzponu med priznane mojstre improvizirane godbe, o frenetični želji po preseganju temeljne »blue note«. Tako kot je jazz v svojem bistvu presežek ljudskega glasu, je Šalamon kot kitarist in skladatelj presežek lastne težnje po svojem, izvirnem umetniškem izrazu. Ker pač združuje ustvarjalno in poustvarjalno komponento. Težko bi sedaj ugotavljali, kaj je v njegovem primeru močnejše in dominantno, saj zadeva deluje kot nedeljiva celota; toda nesporno je, da so prva leta učenja klasične kitare bodočemu jazzistu v levo polovico možganov zarisala logične, razumske vijuge, veščine in analitičen pristop, šele z aktivacijo desne hemisfere (pri devetnajstih letih, ko se je začel zanimati za jazz in pisati lastne skladbe) pa je njegov kreativni homunkulus dobil pravo podobo, tako rekoč jazzovski jaz. In v tem magičnem trenutku, ko so se vse ustvarjalne, razumsko-čutno-čustvene sile združile v enovito telesno »zvočilo«, se je na sceni pojavil »mladi kitarist in bodoči inovator ter sila, s katero moramo računati v svetu jazza«, kot je leta 2006 Michael G. Nastos zapisal v All Music Guide. Takrat kot napoved, danes je to dejstvo.

V CD-predvajalniku se kot dokazni material za potrditev gornje izjave suče plošča z naslovom Duality. Zadeva je, kot sklepamo že iz naslova, dvojnica dveh samostojnih enot, ki se ločita tako geografsko kot po sestavu, druži ju le Samo Šalamon … ter dejstvo, da sta oba tria brez kontrabasista.

Bolj kot »duality« bendov z dveh celin se dvojnost Šalamonove glasbe kaže v konceptu skladb, kjer se dva principa – hrup in tišina – izmenjujeta v nekakšnem spontanem zaporedju in kontrastirata v najžlahtnejšem pomenu besede. V prvem delu se predstavi s svojim US Triom, kjer kreativno zvočno sliko ob njem gradita še alt saksofonist Tim Berne in bobnar Tom Rainey, v drugem delu pa European Trio v zasedbi Achille Succi (altovski saksofon, basovski klarinet) in bobnar Roberto Dani žge nekoliko mehkejše ritme, čeprav bistvene razlike med ameriško in evropsko zasedbo ni. Tehnično sta oba tria vrhunsko uigrana, našpičena v dinamiki in sofisticirana v detajlih. Bolj kot »duality« bendov z dveh celin se dvojnost Šalamonove glasbe kaže v konceptu skladb, kjer se dva principa – hrup in tišina – izmenjujeta v nekakšnem spontanem zaporedju in kontrastirata v najžlahtnejšem pomenu besede. Slogovna fuzija, ki je še nedavno dovoljevala prav vse, od globinskega improviziranja do eksperimentalnega lovljenja zvokovnih raritet, se v Šalamonovem primeru dogaja v nekakšni »ukročeni« varianti. Stilnih dodatkov iz drugih okolij je le za vzorec (kitara včasih malce zaide na rockersko njivo), določeni fragmenti spominjajo na minimalistične vzgibe »resnih muzičistov«, skladbe pa imajo vendarle spet glavo in rep, vmes pa stabilen trup, ki dobro zgleda.

Lahko bi rekli, da se je free jazz nekoliko zmehčal in postal priljudnejši, tak s človeškim obrazom. Gre za intelektualno-emocionalni pristop, kar je v jazzu že nekaj časa standard: improvizacija ni več samo eruptivno hlastanje po svobodi, temveč strogo nadzorovana mimikrija zvoka, ki se prilagaja skupinskemu muziciranju. Četudi včasih na precej samosvojih in »odbitih« temeljih. Lahko bi rekli, da se je free jazz nekoliko zmehčal in postal priljudnejši, tak s človeškim obrazom. Čeprav je to muzika za sladokusce, za znalce, ki so v jazzu že vse dali »skozi«, se Šalamon vendarle opira na dobro staro tonalnost, harmonsko koherenco, ki vzbuja v poslušalcu prijetne občutke (po)polnosti. Pričujoči album vsekakor učinkuje v obe omenjeni smeri, čeprav se godcem na momente tudi »fajn utrga«. Na primer v Twists and Turns (US Trio), kjer se organizirani kaos izvije iz primeža kontroliranega hrupa in zbezlja po svojih principih. Nekako ritualno, evforično, divje, brez predsodkov, brez pomislekov, izzivalno … do gladkega konca, ko se zvokovje sesede v globok mir, skorajda v blagodejni vetrc nirvane in kontemplacije. Duality je tako imeniten dokaz ne le Šalamonove pretkane veščine razločevanja in združevanja (ne le) omenjenih dvojnosti, marveč ga obenem še trdneje zasidra kot enega najbolj samosvojih in skladateljsko izvirnih domačih jazzistov, čigar ustvarjanje je močno vpeto v mednarodne tokove.

JAZZ TIMES (Bill Milkowski, March 2012):

Slovenian guitarist Samo Salamon shows daring in his choice of notes and choice of sidemen on his 12th outing as a leader. With his U.S. Trio (alto saxophonist Tim Berne, drummer Tom Rainey) and European Trio (Achille Succi on alto sax, Roberto Dani on drums), Salamon delivers spiky improvisations on rock-fueled romps like “Blistering” and “Roofs in the City.” His more involved compositions, like “Flying Potatoes” and “Twists and Turns,” find him navigating taut, twisted unisons with Berne’s alto sax while also engaging in cathartic call-and-response. “Mea Culpa” and “Kei’s Garden” show Salamon’s penchant for lyricism, and the unaccompanied “Road to Nantucket” is a glimpse at another side of his considerable fretboard skills. The harmonically rich ballad “The Weight of One Daisy,” featuring some outstanding bass clarinet work from Succi, is another reason to pay attention to this noteworthy guitarist.

JAZZ PODIUM (Alexander Schmitz, March 2012):

Sein "Geheimnis", bedauerte agas Anfang dieses Jahres in der Vorstellung seines Albums "Almost Almond" [vgl. hier], sei auch nach dem Hören dieser CD "nicht zu knacken" gewesen. Es war sein erstes "richtiges" Trio-Album, besetzt mit Drew Gress am Bass und Tom Rainey, Schlagzeug, hieß es, und der schöne Satz: "Wenn man im Trio überlebt hat, ist man bereit" bekam eine merkwürdige Wendung, gerade so, als sei Samo Salamon nach "Almost Almond" eben doch noch nicht "bereit".  Es stimmt zwar: Auch nach immerhin schon vier vorhergegangene Besprechungen von Salamon-Alben blieben manche Unsicherheiten in der Einschätzung der Musik des Slowenen aus Maribor, wie auf einem Hochseil, von dem man entweder in  Ablehnung oder Beifall plumpsen konnte – "Ela's Dream" 2005 [hier], "Two Hours" ein Jahr später [hier], 2007 “Kei’s Secret” [hier], 2008 die Alben "Fall Memories" und "Nano" [hier] und Anfang 2010 "live!" mit Michel Godard und Roberto Dani [hier].

Die Sympathie und damit die Offenheit für Samos Gitarrenjazz aber waren grundsätzlich immer vorhanden. Er ist nun mal kein weiterer Mainstreamer, sondern ein nicht selten unbequemer Komponist und Instrumentalist, intelligent, gebildet, ehrgeizig, geradlinig, ein Bewunderer einer Freiheit, wie sie für ihn Helden wie Ornette Coleman und John Scofield verkörpern, ein weniger politischer als vielmehr literarisch orientierter Musiker(seine Doktorarbeit dreht sich um moderne amerikanische Lyrik; mehr über Samo in einem in Kürze erscheinenden Porträt im "Jazz Podium") und ein leidenschaftlicher Wanderer zwischen den Welten, seinem Europa und seinem Amerika. Doch was sich in seiner Musik wiederfindet, ist keine romantisierende oder gar glorifizierende, sondern eine durchaus skeptische, zumindest gebrochene Sicht kontinentaler Dinge hüben wie drüben.

Deshalb verwundert auch nicht, dass sein jüngstes Album "Samo Salamon Bassless Trios – Duality"[Samo Records (o. Nr.)] eines mit Brüchen ist, eigentlich zwei in einem. Es ist das Album eines der gewiss eindrucksvollsten "Jungen Wilden" der grenzen-losen Jazzszene, der sich seit Jahren einer beständig wachsenden Anhängerschaft auch in seinem Traumland USA erfreuen kann, eine Art Zwischenbilanz, aber eben auch das Zeugnis eines Wanderers zwischen Welten, die sehr viel verbindet, aber auch sehr vieles trennt. "Duality" ist denn auch das sicherlich interessanteste seiner bisher elf oder zwölf eigenen Alben, aufgeteilt in vier Stücke mit seinem "US Trio" mit seinen bewährten amerikanischen Freunden Tim Berne am Altsax und Tom Rainey, Drums und sieben Stücken im "European Trio" mit ebenfalls längst bewährten Weggefährten: Achile Succi an Altsax und Bassklarinette, der bereits auf Samos furiosem Coming-Out "Ornethology" mitspielte, und dem erwähnten Schlagzeuger Roberto Dani.

Wie gesagt: keine Bassisten. Das erfordert ungewöhnliche Aufgabenverteilungen. Aber Brüche, durchaus. Im kleineren amerikanischen Teil geht es mehrheitlich ganz schön hoch her, nervös, enervierend, treibend und sehr wohl aggressiv wie etwa in "Blistering", wenn Samo den Part des fehlenden Bassmannes ein, zwei Oktaven höher legt und natürlich auch verfremdet, um dann im eigenen Solo – in dem Berne teilweise Bass-Aufgaben übernimmt – wirklich alles an treibenden Kräften aufzubringen, was ihm überhaupt zur Verfügung steht. So würde man, denkt man, selbst auch gern mal spielen, um zu entschlacken, Musiker wie Nichtmusiker, wenn wir uns nur trauten. In der zweiten Hälfte befreit sich das Stück noch immer mehr, bevor sich im Decrescendo Wut in Witz und Wärme wandelt. "Flying Potatoes" ist eine neue und deutliche Verneigung vorm großen Ornette Coleman mit faszinierendem Call-and-Response und furioser kollektiver Improvisation, während "Mea Culpa" nach langem Unisono-Passus die (eigentlich längst überwundene) Postmoderne in heftig elektrisierendem Freejazz endgültig zu Grabe trägt.

Anderer Kontinent, anderes Trio: Im europäischen Teil von "Duality" erwartet den Hörer das Komplementär, statt Hitze nun Wärme, statt Eruptionen ästhetische Bearbeitung und mit Succi ein weicher als Berne intonierender Bläser, und schon in  "Falcon's Flight" wird deutlich: Der Jazz hier erzählt wieder Geschichten und häckselt sie nicht. Dies sind Geschichten von Beobachtungen, nicht mehr aktiven Handlungen; die künstlerische Revolte – wenn überhaupt: eine letztlich immer friedliche – wird kommentiert und nicht mehr angefacht. Im nächsten Stück, "Roofs in the City", bricht Succi sein Spiel auf pure emotionale Intensität herunter. Und à propos Succi: Der spielt die beiden letzten Stücke auf der Bassklarinette. Es sind die schönsten Stücke des Albums, wenn Samo in "The Weight of Ome Daisy" überraschend zum vollrunden klassischen Mainstream-Sound zurückfindet; und wenn er und Succi in "Asking for a Break" aus Stakkato-Fragmenten einen fast schon “inneren Dialog” als stream of consciousness auslegen.

Samo Salamon ist ein Tüftler, ein Konstrukteur, ein Architekt, einerseits. Und andererseits ist er doch so etwas wie ein gemäßigter Anarchist. Zero tolerance wäre für ihn keine Alternative. Für seine Freunde dies- und jenseits des Großen Teichs wohl auch nicht. Es ist wie es ist: "Duality" ist Samos bestes und tiefgründigstes Album. Bisher jedenfalls.

NYC JAZZ RECORD (Kurt Gottschalk, December 2011):

Rainey has an uncommon talent that might be referred to as ‘understated propulsion’. He has a remarkable way of shaping the foreground of any music he is a part of making while remaining in the background. Case in point: Duality, a recording of two trios with the same instrumentation, both led by the Slovenian guitarist Samo Salamon. His name might not be well known in the States but over the last decade and over a dozen releases he has covered a considerable bit of ground, working with Fareed Haque, Rudi Mahall, Josh Roseman and John Scofield, to name just a few.

Here he presents a “European Trio” and a “US Trio”, each comprised of himself with reeds and drums. And while comparison might be unfair - they are different projects, after all - he invites it by putting them side by side, even superimposing a pair of maps on the album’s cover. And they are different bands, of course, even if they are both “bassless” (which has the unfortunate consequence of making the album a bit midrangey). The two groups play different material and Salamon’s playing even changes for the two bands: more measured for the European, more out for the American. For the US Trio, Salamon enlists not only Rainey but also saxophonist Tim Berne, with whom Rainey has played since the ‘80s. Their four tracks on Duality (comprising about 30 of the disc’s 73 minutes) are electric and exciting, with a sort of fresh familiarity that could place the group on a Knitting Factory compilation from back in the day. The European Trio, completed by alto saxist/bass clarinetist Achille Succi and drummer Roberto Dani, on the other hand, is more reserved, more typical of a jazz band. They play theme and counterpoint and play it quite well; they solo and reshape the music, but it’s all a bit more stationary. Rainey’s ability to upshift the energy is also heard.

SAMO SALAMON TRIO feat. DREW GRESS & TOM RAINEY: Almost Almond (2011) Samo Salamon - guitar Drew Gress - bass Tom Rainey - drums

POINT OF DEPARTURE (Troy Collins, June 2011):

Young Slovenian guitarist Samo Šalamon has garnered a wellspring of international praise for his recent trans-Atlantic recordings, which typically alternate between European and American sidemen. Almost Almond, his 11th release as a leader in as many years, features bassist Drew Gress and drummer Tom Rainey – one of New York City’s finest rhythm sections. To Šalamon’s credit, he admirably demonstrates his range with these elite veterans.

A former student of John Scofield who first picked up the guitar after hearing Pat Metheny’s The Road To You (Geffen), Šalamon has been forthcoming in his admiration for the work of such guitarists as John Abercrombie, Bill Frisell and Kurt Rosenwinkel. His variety of techniques and use of multiple timbres occasionally recalls these influences, yet his overall conception sublimates them into a singular approach towards phrasing and tone production. Favoring a mostly clean, classic hollow-body sound, Šalamon occasionally shades his lines with overdrive, saving bursts of searing distortion for climactic passages.

Šalamon’s nimble fretwork is impressive in its meticulous logic; dazzling, but not ostentatious. His intermittent use of a volume pedal is telling, as it allows him to modulate gracefully between extreme dynamics with the finesse of a horn player. His crystalline runs on the richly voiced “Pleiades” hearken back to the seminal efforts of Jim Hall, while the scorching cascades he unleashes on the ebullient “Monkey Hands” and the appropriately titled “Monderous” recall contemporaries like Ben Monder and showcases Šalamon’s ability for crafting coiled thematic variations into hypnotic mantras.

“Dutilleux,” dedicated to the French composer Henri Dutilleux, ascends from cleanly articulated arpeggios to coarsely amplified runs, with a dramatic interlude dominated by swelling waves of feedback. Such moments are fleeting however, as Šalamon’s primary focus is one of pastoral introspection and lilting swing, similar to Frisell and Metheny’s work for ECM in the ‘80s. Indicative of his impressionistic approach, austere ballads like “Too Emotional For This World” and the title track unfold as diaphanous tone poems resplendent with harmonious ruminations.

Though Šalamon’s circuitous cadences dominate the proceedings, Gress and Rainey offer more than mere time-keeping accompaniment. Their conversational interplay offers stimulating support in even the most reserved settings. Gress’ resonant tone and elastic sense of timing informs his neo-classical arco technique, which takes center stage on the regal ballad “My Amusing Muse,” while a brief detour on “Monkey Hands” displays his lyrical, pliant pizzicato. Channeling his facility for pummeling furor into a more stately approach, Rainey demonstrates an uncanny ability to convey driving forward momentum with the sparest of accents, at even the quietest of volumes.

Šalamon’s capacity for delivering new material shows no signs of abating. A diverse and enjoyable set bolstered by a stellar rhythm section, Almost Almond finds Šalamon poised for greater acclaim.

THE BIG CITY (George Grella, March 2011):

You could describe the still relatively young guitarist Samo Salamon as a protégé of Scofield; he’s a long-time friend of the older musician and a former student. He favors a similar guitar sound, one that has a bite from blues and rock, but his voice as a musician is his own. He’s appeared on at least a dozen recordings as a sideman and a leader, in the company of Mark Helias, Gerald Cleaver, Mark Turner, Tony Malaby, Tyshawn Sorey and others, and his new trio disc, Almost Almond , has him accompanied by a great rhythm section of Drew Gress on bass and Tom Rainey on drums.

Salamon strikes an excellent balance between the expected and the surprising. His compositions have structural and harmonic rhythm quirks that at first blush seem ill-conceived, but which after a few more bars, or at the end of the chorus, prove themselves to be his own personal and highly successful stamp on jazz logic. The disc opens with “Monkey Hands,” and almost immediately you’re wondering if those chords have any idea where they’re going, then you realize they brought you exactly where they should via a refreshingly indirect route. His original way of putting his music together makes Almost Almond more than just a standard blowing date. Gress and Rainey are involved partners, expressing the compositions, supporting the leader, working with each other and adding their own deeply musical expression.

The guitarist is the star, though, and he is a star. He is a tremendous player, articulating each note and line with clarity and force, no matter the velocity. He’s also an interesting player, able to say many things via many means, from Pat Martino like hard-bop phrases to rubato chords to abstract noise-making. I love his balance between structure and freedom, the sense that if he needs to go outside the guidelines of the tune to say what he has to say, then he will do so without hesitation and with complete artistic conviction. It’s not a common quality in jazz, where a lot of players go outside the changes for dramatic effect rather than having their musical idea forces them there, and it’s exciting and satisfying.

There are no real standout moments on Almost Almond, because the whole is so consistently fine. All the musicians are deeply involved in the music, the tunes themselves are interesting to hear for themselves, not just as vehicles for improvisation, and the improvising is top-notch. It’s a generous amount of music at over an hour, and the sense that the players are consistently exploring the music and making discoveries is so strong that the whole sounds like an integrated work. Compositionally, it’s not, but Salamon’s voice is so strong that he creates that impression. It’s an impressive and satisfying CD.

EJAZZNEWS (Edward Blanco, February 2011):

Young guitarist Samo Salamon is a true exponent of progressive jazz combining the best of written music with the expressive freedom of improvisation as he does so well on Almost Almond. Hailing from Maribor, Slovenia, Salamon has quickly garnished a reputation as one of the finest guitarist in Europe. Heavily influenced by guitar greats Pat Metheny and John Scofield in the beginning of his career, Salamon gravitated to jazz from a Blues and Rock background honing his skills listening to the music of John Hall and John Abercrombie.

His twelfth recording since 2002, though just released, Almost Almond was actually recorded in 2006 featuring a world-class rhythm section of bassist Drew Gress and drummer Tom Rainey.
Accordingly, Salamon is not the only player here to showcase his appreciable skills through several solo performances, as both Gress and Rainey take turns displaying their own talents with solos of their own through out. As a trio, the group produces a sophisticated sound and even edgy on some pieces.

Salamon's talents on the guitar are immediately evident on the opening “Monkey Hands,” brisk and bold, the guitarist expresses himself well on this track yet leaves room for his band mates to make their mark as well. “Lastovo” is his most ambitious chart clocking in over nine minutes, the piece was written in tribute to the island where most of the music for this album was composed.
The tributes continues on such pieces as “Monderous,” for guitarist Ben Monder, “Drewish” a tune written for bassist Gress and finally, “Dutilleux,” in homage to French composer Henri Dutilleux.

There are eleven total original tunes—all distinctly diverse in color and texture all though each falling within the Modern jazz genre. There are no easy melodies, humble ballads or familiar standards here, the music found on Almost Almond is challenging, clever and designed for the appreciating aficionado. Samo Salamon is neither flashy nor common bu actually brilliant at times.

JAZZ WORD (John Barron, January 2011):

For the last ten years or so, guitarist Samo Salamon has been making a name for himself throughout the European jazz market as an inventive improviser, composer and leader of diverse small group ensembles, often featuring American notables such as saxophonists Mark Turner and David Binney. A tireless self-promoter, the Slovenian native has been creating a buzz with critics and fans of jazz guitar. His latest release, Almost Almond, is an inticing trio release sure to further the guitarist's reputation. The eleven-track disc of Salamon's original pieces was recorded in Switzerland in 2006 with the aid of bassist Drew Gress and drummer Tom Rainey.

As a composer, Salamon has a penchant for combining written parts with free-form sections as a foundation for improvisation. "My Amazing Muse," for example, begins with a rhythmic, Latin-inspired structure before an abrupt transition into a dreamy landscape of arco bass and arpeggiated guitar. Similarly, "Dutilleux," named for French compose Henri Dutilleux, has a wide interval theme developed by guitar and bass before Salamon delivers stinging jabs of distorted raunchiness. The overt intensity is nicely countered with the more lyrical, flowing piece, "Pleiades," featuring the meaty gracefulness of Gress' bass.

It is Gress who introduces the moody "Lastovo" with a tone that is warm and welcoming. The lengthy piece proves an ideal setting for guitar, bass and drums to interact in an open dialogue that is brooding, yet playful. The good-natured interplay continues on the short and clever piece "The Small Buddhist" and the airy "The Ladybird is Yawning."

As a soloist, Salamon is able to lend solid technique to an imaginative array of spontaneous moods. His style is grounded in the sound of modern jazz with unique characteristics, unbounded by the traditional confines of his instrument. Much like his contemporaries Kurt Rosenwinkel and Ben Monder, Salamon is forging ahead with a new standard of jazz guitar that is accessible and beyond established categorizations.

GEIGER.DK (Jakob Baekgaard, January 2011):

Almost Almond is a strong release from one of the most interesting guitarists on the European stage. It's an album where Samo Salamon shows a compositional and improvisational energy and lets the melodies grow freely and imaginative in an intense collaboration with two of the most interesting instrumentalists: Drew Gress and Tom Rainey.

The Slovenian guitarist Samo Salamon has gradually built a solid discography and a list of credentials, which most young guitarists must envy. At a young age took Salamon to New York and quickly became a part of the creative jazz scene and soon came to play with the names that would later come to define the sound of the new jazz, including saxophonist Tony Malaby and bassist Mark Helias, with whom Salamon recorded the album Two Hours, released on the acknowledged company Fresh Sound New Talent in 2006.

Another musician, who also contributed to the CD, was the eminent drummer Tom Rainey. Almost Almond reunites Salamon with Rainey, but there is also room for a new acquaintance in the form of bassist Drew Gress, whose excellent playing was featured in the pianist's Marc Copland New York Trio.

As a guitarist Salamon covers a wide stylistic spectrum, but from the rock freak-outs on "Dutilleux" to the delicate poetry of "Too Emotional For This World," he manages to keep the tongue straight into his mouth and create a sense of consistency in his playing.

You can hear the heritage of recent American guitar names in Salamon's sound like Kurt Rosenwinkel, Adam Rogers and Ben Monder, who gets a special tribute to "Monderous", a delightful composition with fast melodic runs and buoyant rhythmic crack, but also a gentle lyricism.

Salamon's music is both swinging and lingering, virtuoso and minimalist. In its own quiet way, he helped to expand the framework of the modern guitar trio, and it helps in this regard to have teammates like Gress and Rainey creating a dynamic space around him. The melodies are allowed to grow organically and freely imaginative, and despite many stylistic detours we are left with an impression that this is another great piece of work from one of the most interesting guitarists in Europe.

SAMO SALAMON TRIO feat. MICHEL GODARD & ROBERTO DANI: Live! (2009) Samo Salamon - guitar Michel Godard - tuba, electric bass Roberto Dani - drums

ALLABOUTJAZZ (Matt Marshall, January 2010):

The tuba has experienced something of a resurgence as a featured jazz instrument in the last couple of years. Far from its New Orleans' roots, where the twizzled piece of metal mainly thumped its beats in the background, folks like Dave Douglas, Donny McCaslin, Bobby Bradford and John Ellis have moved the tuba (or sousaphone) to the frontlines, recognizing its ability—in the right hands—to solo as strongly as any of its brass brethren, yet with the added oomph of a heavyweight body punch.

Eclectic Slovenian guitarist Samo Salamon first tangled with the parade beast (on record, leastways) on 2007's Fall Memories (Splasc(h) Records). On Live! he brings back to the recording stage the one he calls "probably the best tuba player in the world" in the person of Michel Godard, who also plays a pretty mean electric bass. Also back from the Memories outing is Italian drummer Roberto Dani. Captured live at Café Stockwerk in Graz, Austria in March 2009, during the trio's tour of Europe, this record is far more explosive than its immediate predecessor, Salamon's subdued parlor meditation Mamasaal feat. Mark Turner (Dometra, 2008). Here, Godard sets a heavy, thumping groove, whether working the valves or the strings, that on tracks like the tuba-fed "Catch the Train" and "Miss Sarcasm" lumbers its way into a foot-stompin' rockabilly chug. And on "Train," "My Rain" and "Fall Memories," Godard twists and blows loose enough biting, squawking solo passages to make Anthony Braxton proud (if not even a little envious), going so far as to feature tuba-altered breaths, cutting in like panic-induced gasps on "Memories."

Salamon's playing is likewise aggressive. When not filling the canvas with light, ringing tones, the guitarist is charging to the fore with a varied attack of intricately laid single-noted runs, blazing metal and pedal-enhanced chordal passages and repeating blips of sound that delineate the edges of his work. His palette is much richer than on Mamasaal, recorded in 2006; his ability to work the tools in his chest to fit the ideas in his head has noticeably increased. (Although not the best track here, "Happy Girl," condensed nearly to half the length of the Mamasaal version, illustrates this point perfectly: Salamon expertly fleshes out the titular character with shifting melodic and harmonic coloration missing from the rather straightforward lines of 2006.) Now there's the narrative whole, its improvised thread springing out not fully formed, but spinning confidently free from the artist's mind and finding—creating—itself in the live gasp of the bandstand air, not only discovering, uncovering, exploding the narrative points of tension, fear and joy, but feeding them with leading strings of character, place and time. The music here never dips into prolonged, static atmospherics.

Helping considerably with this is Dani. Favoring the metal wares in his set—cymbals, cowbells, the like—he breaks the air with a clatter and rolls gravel at his mates' feet. Yet his time and rhythmic feel are mighty enough to prevent the affair from ever crumbling into a mess. For all of Godard's tuba tricks and Salamon's shredding, the trio is still marching. And Dani ain't gonna let 'em get too far outta line. His solo on "Catch the Train" is a subtle, nuanced affair, heightened mostly by the falling away of the other instrumentation—Dani's drumming continues unabated in its role as flavorful percussive glue.

This is live performance at a high, invigorating and intelligent level. High enough to perhaps make it feasible for Salamon and his trio to jump the pond for a bit of stateside touring in 2010. Jazz festivals take note.

ALLABOUTJAZZ (Bruce Lindsay, January 2010):

Guitar, drums and tuba may not be one of jazz music's classic combinations, but on Live! Slovenian guitarist Samo Salamon's trio shows that such a line-up can deliver creative, tight and engaging performances that are easily a match for more traditional ensembles.

Salamon is a prolific musician, whose history includes work with John Scofield, Josh Roseman and Gerald Cleaver, among many others, and he has released nine albums as leader. Live! features ten of his compositions—many of which are rearranged versions of originals from albums such as Kei's Secret (Splasc(h) Records, 2006) and Nano (Zalozba Goga records, 2007). The earlier recordings featured additional instrumentation and Salamon is to be congratulated for the trio arrangements which by and large deal effectively with the absence of saxophone or accordion. "Miss Sarcasm" works particularly well in its trio arrangement, as does "Fall Memories," but the live version of "Hebe" is given a harder edge than the original and misses Julian Arguelles' delicate saxophone playing.

Salamon's guitar sound is bright and clear. He has a light but precise touch, ensuring that his single note playing is delicate and liquid while his chordal technique is similarly distinct—such clarity is a key feature of his style and it marks Salamon out from many other guitarists who are happy to sacrifice clarity for speed. Michel Godard's tuba playing is a treat—technically excellent, it also displays delicacy, humor and inventiveness in equal measure. Godard moves on to bass guitar for half of the album, and is a skilful bassist, but it's his performance on tuba that lends a real distinctiveness to the trio's sound.

Salamon, Godard and drummer Roberto Dani have worked together in other line-ups over the two or three years prior to this recording, but this is their first album as a trio. The musicians complement each other well, displaying a shared understanding whether playing as an ensemble or as soloist and rhythm section. "My Amusing Muse" shows this understanding particularly effectively, as Salamon and Dani sensitively underpin Godard's tuba playing to create the album's standout track.

Live! was recorded during a performance in Graz, Austria. Presumably the recording was made directly to the sound desk, as there is no audience noise or applause to be heard. This gives the album excellent sound quality, but it also results in the lack of a live atmosphere—a pity, because the trio's performance is warm and involving, and the addition of some audience response would add to the feel of this fine recording.

ALLABOUTJAZZ (Mark Corroto, January 2010):

A continual selection for guitarist deserving wider recognition, Slovenian Samo Salamon releases a live recording with his core trio of Italian drummer Roberto Dani and tubaist/bassist Michel Godard.

Salamon posted notice of his talent with Mamasaal (Dometra, 2009), with saxophonist Mark Turner, Government Cheese (FSNT, 2007), with saxophonist David Binney, Kei's Secret (Splasc(H), 2006), with drummer Tyshawn Sorey, and Two Hours (FSNT, 2006), with saxophonist Tony Malaby. While these various sessions were delightful, his releases with the working group heard here truly display his unique creative spark.

Live! follows this trio's Fall Memories (Splasc(H), 2007), with accordionist Luciano Biondini and Nano (Zalozba Goga, 2007), with saxophonist Julian Arguelles.

A classically trained guitarist, Salamon comes to jazz with an ear for European music and rock. His jazz/rock influences developed under the expert tutelage of John Scofield. That can be heard on "Miss Sarcasm," an aggressively assaultive piece with Dani's drums and the echo-effected guitar of Salamon creating a stadium sound.

But this record is not about rock's heaviness, it is more chamber jazz and sly creative music making. The key is the unique lineup of tuba and percussion as accents to the guitar. Godard's tuba bass lines quiet the music and eschew a traditional jazz swing—not that he doesn't conjure a New Orleans second line on "Catch the Train" or push the guitarist on the opener "Hebe," where Salamon dances around the tuba's urgency, while Dani works the metal edges of his kit. Godard plays tuba on half the tracks, but when he picks up his bass, a more traditional guitar trio emerges. Although with these three, the music doesn't rehash standard clichéé. Salamon's writing, like that of Bill Frisell, finds jazz in folk music, European chamber music, and in the tiniest gesture.

A very special recording.

JAZZREVIEW (John Vincent Barron, December 2009):

Slovenian guitarist/composer Samo Salamon has received critical acclaim in recent years as one of the more original voices of the European jazz scene. Adding to his impressive recorded output, Samo Salamon Trio - Live! is a fearless effort showcasing the guitarist's bold, genre-defying musical vision.

Salamon's compositions thrive on progressive-rock elements and odd-metered vamps with openness to improvisatory exploration. The opening "Hebe" features a bouncy 5/4 groove firmly established by Michel Godard's punctuating tuba bass line. Salamon quickly seizes the opportunity to develop unpredictable themes. "Kei's Secret" is a slow dirge with trace-like intensity. Here, the leader patiently unfolds a series of chordal clusters. Other stand-out pieces include "My Rain," with interesting counterpoint between tuba and guitar, and the intricate "Happy Girl" with its disjointed waltz feel and blazing guitar solo.

What's most interesting about Salamon's playing is his ability to move back and forth from typical guitaristic ideas to a more lyrical approach that reaches beyond the limitations of the instrument.

Godard displays fine electric bass playing throughout the ten-track disc, however, it is his Tuba playing that stands out a stunning. Featured prominently, the somewhat unconventional low brass instrument adds a unique flavor to the trio's sound. Godard is given plenty of space to demonstrate incomparable solo technique.

Drummer Roberto Dani complements Salamon's eclecticism with a colorful landscape. The Italian percussionist implores tasteful brushwork, cymbal textures and inventive grooves to propel each piece forward. Dani's intense accompaniment of Salamon's distorted runs on "Catch the Train" is especially strong. All in all, the disc is an exceptional trio outing.

ALLABOUTJAZZ (Jakob Baekgaard, December 2009):

The music of Slovenian guitarist Samo Salamon encompasses a wide-ranging vision that leaves room for both subdued balladry and intense rock-outs. Still, even though there's certainly eclecticism at work in the musical poetics of this musician, who takes in influences as diverse as the gritty melodies of John Scofield and the reverb-drenched innovations of Bill Frisell, Salamon has achieved his own sound, one that combines a distinctively European folk feeling with the major streams of modern jazz guitar.

In spite of its deadpan title, Live! showcases Salamon at his most inventive, touching upon a broad palette of moods, sounds and tempi. Supporting him on the date are the immense talents of Italian drummer Roberto Dani and French tubaist/bassist Michel Godard.

Godard, in particular, proves to be a revelation with his unorthodox approach to the tuba, an instrument rarely heard in modern jazz. The sad sound of his brass adds color and mood to the rainy street meditation of "Hebe," paradoxically developing into a joyful anthem where Salamon spins melodic licks over Godard and Dani's bouncing rhythms. Elsewhere, the beautiful "Fall Memories" finds Godard exploring the texture of his instrument, with brassy breathing sounds and whispers reminiscent of trumpeter Herb Robertson.

Part of the album's dynamic is due to Godard's shift between the bass and tuba, with about half of the album's ten tracks dedicated to each instrument. While the tuba tracks tend to be freer and more meditative, the bass tracks provide a decidedly more rockish feeling that allows Salamon to flex his technical muscles, as on the elastic groove of "Happy Girl," which features lightning fast arpeggios.

Samo Salamon has recorded live successfully before, on Ela's Dream (Splasch, 2005) and Kei's Secret (Splasch, 2006). Live! is another worthy addition to a significant body of work, one that can only enhance Salamon's reputation as a distinctive composer and original guitar stylist.

SAMO SALAMON & ALJOSA JERIC QUARTET: Mamasaal feat. Mark Turner (2008) Mark Turner - tenor sax Samo Salamon - guitar Matt Brewer - bass Aljosa Jeric - drums

ALLABOUTJAZZ (Jeff Dayton Johnson, April 2009):

That bandleaders Samo Salamon and Aljosa Jeric are Slovenian doesn't appear to be of much musical relevance; jazz settings of East European folk songs are not the order of the day here. But it might have some metaphorical relevance; just as their tiny homeland has shot to the top of all social, economic and political rankings of countries of the former socialist bloc, this guitar and drum duo has rocketed in a relatively short time to the ranks of world class contemporary jazz musicians. In so doing, they remind—if indeed we needed reminding—just how global the jazz world is.

Mamasaal is either situated—depending upon the perspective—at the comfortable center or the experimental edge of the jazz mainstream. Either way, the compositions are exquisitely fashioned, if at times a little fastidious in their self-conscious modernist complexity. But about half the time ("Pale But Beautiful," "Internal Affairs"), they manage to be memorable and affecting, with a good selection of tempos. "The Shy One"'s ethereal hipness would, for example, be at home on Paul Motian's Garden of Eden (ECM, 2006).

Salamon's playing, in particular, raises this date above the level of merely competent. While he is note-perfect on the complicated melodic lines of the compositions, his solos hit the beat in an approximate way. This creates a kind of tension that derives from a venerable jazz-guitar lineage, reaching back to Melvin Sparks and James Blood Ulmer, transmuted through Pat Metheny's bell-like clarity. Much of Salamon's soloing alternates fragments of rapid-fire lines with strumming that serves to reset the sonic pattern and which provides structure: this approach is most neatly and notably displayed in the borderline-free improvisational segment of "High Heels."

It's not unfair to single out Mark Turner's role—after all, the boys put his name in the album's title. Here, as on the more celebrated and roughly contemporary sophomore effort of Turner's collaborative Fly trio—Sky & Country (ECM, 2009)—the saxophonist speaks with relentless imagination and self-assured coherence. His solos repeatedly give the impression of purposefully zeroing in on the musical heart of the compositions—the way he seizes on the giant steps of "Internal Affairs," for example, or makes sense of the complicated melody of "Little Eva." His honking, abrasive entry on "High Heels" stretches, but does not break, the thematic unity of the album.

Meanwhile, young bassist Matt Brewer (sideman to Greg Osby, among others), is unfailingly alert and inventive, with his harmonics-laden solo on "Internal Affairs" a highlight of the disc. Drummer Jeric's playing is crisp and approachable; he is not afraid to shuffle when the need arises ("Elephants on Holiday").

Ultimately, it is irrelevant and a little condescending to point to Salamon and Jeric's nationality. They will hold their own against all comers, whatever their provenance.

ALLABOUTJAZZ (Nic Jones, March 2009):

The modern mainstream doesn't often get as rarefied as this, and that very point is one of this quartet's greatest strengths. Guitarist Samo Salamon's playing is rhythmically ambiguous with a happily singular mellowness, and it's abundantly obvious that tenor saxophonist Mark Turner)), at the worst of times one of the most singular voices out there, finds this to be a fertile musical environment.

This is, however, not necessarily a soloist's music. It's just as easy to be taken by the group's inner coherence, unassuming as it is. The surface veneer of the music might equally obscure the fact that at times there's an awful lot going on here. "Make The Duck Sound" is melodically oblique and marked by {{Matt Brewer's bass line, which has the odd effect of delivering momentum through the notes that are left out. Warne Marsh has in the past been referred to as an influence on Turner, but the comparison isn't all that helpful on a superficial level. Turner is far more rhythmically involved than Marsh habitually was, but he does have a similar preoccupation with not repeating himself. Here he digs deep, calling up ascending phrases against Aljosa Jeric's propulsive yet somehow diffident drumming.

"High Heels" is a similar model of rhythmic ambiguity, this time topped off by an angular theme that prompts some of Salamon's most reflective work. His phrasing is entirely his own, and it's true to say that in a more general sense he shows no overt influence, as if he's sprung fully formed onto the scene. Propulsion is again a matter of highs and lows, but this time the intensity lies in the way the guitar, bass and drum trio seems to breathe as one. Turner seems appreciative of this too, beginning his solo with a series of low register bleats around which the trio coalesces before different territory is mined and the overarching concept that is 'the music' again comes into its own.

"Internal Affairs" is as reflective as anything here, the mellowness of the guitar emphasizing the point, and Turner's tone, a model of breath control yet with a grainy edge, comes into its own. Again the theme is not an instantly memorable one, but rather the kind that will find a place in the psyche after repeated exposure. Brewer's bass takes the material apart and puts it back together in a different order in his solo, and that point might well serve as emblematic of the entire program. In journeying along a road less traveled, this quartet has put together a body as unassumingly compelling as anything out there.

ALLABOUTJAZZ (Jerry D'Souza, February 2009):

Samo Salamon is an adventurer in more ways than one. As a guitar player he is constantly in search of the new, finding it in unexpected harmonic concepts and in the development and fulfillment of the themes. He also chooses to play with different musicians on his recordings, thus opening the doors to a fresh world of ideas.

Salamon has an extraordinary sense for dynamics that triggers his craft as a guitarist. He finds tangents and angles, the straight path and the curve, which he embellishes with elegant chords. He has an able cohort in Mark Turner, whose daring is never out of focus as he turns ideas around and gives them a concrete presence.

Four of the tunes on this CD were written by drummer Aljosa Jeric, the rest by Salamon. The compositions leave room for the band to extend the parameters and bring in that extra bit of surprise to elevate the music.

"High Heels" is an amalgam of styles. Turner is open-ended, letting loose several lines on the tenor and then providing a cohesive reason for them. Salamon lets bebop cast its light on his melodic impressions. He fashions them in glowing runs, as he drinks deep from his well of ideas.

"Night Thoughts" is an instant attention grabber. Turner ruminates on the haunting melody and Salamon lets it capture his deliberations. The mood is enhanced by Jeric, who caresses the rhythm with his brushes, and by bassist Matt Brewer whose solo is a capsule of invention that does not dent the framework and ruin it.

A flexible pulse marks "Make the Duck Sound" and gives each musician the leeway to direct the composition into his own realm. Turner is again at the forefront, the head of the navigators as he fathoms the path with pithy phrases and swift turn of meter. Salamon takes it all in another direction with limber swing. It's a neat surprise and sits in well.

The quartet plays with a sensitivity for time and space and in doing so make an appealing invitation for a well deserved listen.

ALLABOUTJAZZ (John DWorkin, February 2009):

Mamasaal is a recording led by guitarist Samo Salamon and drummer Aljosa Jeric featuring the relentlessly creative saxophonist Mark Turner. Salamon and Jeric both hail from the newly post-socialist country of Slovenia. Having been recently formed after the collapse of the Eastern Bloc, maybe there is something to the idea of jazz being a truly "democratic" art form.

The tunes are all originals: six from Salamon and four from Jeric. Rhythmically and harmonically they're strictly modern: no blues, bebop, or rhythm changes to be found. And there's a haze of melancholy wafting through much of the music. Aside from a few tunes, Mamasaal is best suited to an insular, grey Sunday spent reading on the couch, or a day of introspective listening spent alone gazing out the window onto the city.

Jeric's enigmatic, wandering, and strangely hypnotic "Elephants On Holidays" is one of his two compositional highlights. It's a short, slow, and quirky through composed tune and is the tune furthest removed from standard jazz vocabulary on Mamasaal: straight 8ths, backbeats, hardly any traditional changes or solo sections, and a fadeout for an ending. Though pensive and near plodding at times (elephants at work?), it's one of the most idiosyncratic and inviting tunes on the record. Jeric's gentle waltz "Little Eva," described as "kind of a 'Rosenwinkelish' tune" in Salamon and Jeric's self-written liner notes, is the CD's lone peon to standards, with Jeric's simple, beautiful, and motivic melody the recording's most memorable.

Salamon's most intriguing piece, "The Shy One," is also less overtly jazz and tends toward the pensive and atmospheric. It would fit just as comfortably on a laidback indie film soundtrack. Salamon's guitar sound here is suffused with reverb and delay but remains well articulated, whereas on other tunes his attack has nearly no edge. The ending of "The Shy One" illuminates Salamon's gift for writing entrancing lines. Played in unison with arco bass as a duet, it's Mamasaal's most beautiful moment; a pity the section wasn't longer.

"High Heels" and "Happy Girl" feature two more creative Salamon melodies. They have strong propulsion, singability, and generate the CD's strongest energy.

ALLABOUTJAZZ (Matt Marshall, February 2009):

Don't expect to have your bones rattled by Samo Salamon & Aljosa Jeric Quartet's Mamasaal feat. Mark Turner. It's a subtle, contemplative work, passing with the warm glow of an evening lost to conversation and intoxicants in the likes of the album cover's ornate parlor.

At times, Salamon's guitar is breezy, providing a calm sea over which tenor saxophonist Turner can sing, swoon and squawk. But stiff peaks emerge from Salamon's ocean, sparking bright pinpricks of sound that roll into quick, almost inaudible, lines. These might terminate (as in the album's second and most powerful track, "High Heels") in grinding chords that rage Jeric's drumming and fire carbonic discharges from the horn of Turner, allowing a fully voiced blast of saxophone fury.

Salamon and Jeric share composing duties on the set—six and four tracks, respectively—and, seemingly, a philosophical affinity. The pieces work well together and meld as a whole, laying seamless fields of plush carpet, ideally set to foster the breathy, playful, weighty and occasionally aggressive debate among the quartet gathered in this European parlor.

While this is, without question, a jazz album sounded within the modernist American tradition, the flavors of Salamon and Jeric's Slovenian homeland also seep in, especially in the later tracks. Salamon's "Happy Girl" and new take on "The Shy One"—originally recorded on Jaka Berger's BRGS Time - Bas Trio (Splasc(H), 2006)—bring the album to a congenial close; the glasses raised a last time, the cigars and cigarettes snuffed out and the lamp silenced, returning the windows to the bass-bowed blackness of the Slovenian night.

ALLABOUTJAZZ (Mark F. Turner, February 2009):

The fact that guitarist Samo Salamon continues to surround himself with some of the brightest players in jazz is an inkling into his abilities as a performer and leader. To name a few: Drew Gress, Tyshawn Sorey, Gerald Cleaver, Luciano Biondini, and David Binney have appeared on Salamon's recordings ranging from edgy, jazz-rock and cerebral melodies. Salamon continues his prolific foray on this joint effort with fellow Slovenian, drummer Aljosa Jeric, with bassist Matt Brewer and featured saxophonist Mark Turner.

The music on Mamasaal feat. Mark Turner might be considered somewhat of a departure from Salamon's previous recordings with its mellowed quartet themes in contrast to outer-rimed explorations like Kei's Secret (Splasc(H) Records, 2006) and Government Cheese (Fresh Sound, 2007). But with musicians of this caliber delivering first-rate playing, it is still quite enjoyable.

The inclusion of Mark Turner is important; a saxophonist who has performed with Kurt Rosenwinkel, Billy Hart and many others, he is one of best young tenors around. His quiet dominance is heard throughout, marked by a sinuous fluid voicing and impressive control. The rhythm section is vigorous; Brewer, a rising young bassist who has played with Greg Osby and John Escreet, is a sure foundation, while Jeric adds flourishing traps as well as four compositions including the kinetic opener "Flying Serpents," where Brewer offers a confident solo followed by Turner's aerial acrobatics.

Salamon flexes his own muscles on "High Heels," a mid-tempo piece with trademarked playing marked by Turner and Jeric's distinct statements within the twisting melody. While the chord progressions of "Internal Affairs" and "Elephants On Holidays" are softer and more standard-like melodies, it's the 10-plus minute "Happy Girl" that shows the guitarist's truer skin, with multi-threaded complexity and deconstruction, brilliantly executed by all. The quartet's swansong, "The Shy One," is fitting to the recording's overall tone—both thoughtful and thought-provoking.

SAMO SALAMON EUROPEAN QUARTET: Fall Memories (2007) Splasc(h) Records Michel Godard - tuba Samo Salamon - guitar Luciano Biondini - accordion Roberto Dani - drums

ALLABOUTJAZZ (Jerry D'Souza, January 2008):

SAMO SALAMON EUROPEAN QUARTET: Nano (2007) Zalozba Goga Records Julian Arguelles - tenor and soprano saxophone Michel Godard - tuba Samo Salamon - guitar Roberto Dani - drums

ALLABOUTJAZZ (Jerry D'Souza, January 2008):

SAMO SALAMON NYC QUINTET: Government Cheese (2006) Fresh Sound New Talent Dave Binney - alto sax Josh Roseman - trombone Samo Salamon - guitar Mark Helias - bass Gerald Cleaver - drums

ALLMUSIC (Alain Drouot, May 2008):

SAMO SALAMON NEW QUARTET: Kei' Secret (2006) Splasch Records Achille Succi - alto sax, bass clarinet Samo Salamon - guitar Carlo DeRosa - bass Tyshawn Sorey - drums

ALLMUSIC (Alain Drouot, May 2008):

Following an impromptu session, Samo Salamon presents a road-tested outfit with an international lineup showcasing reed player Achille Succi and bassist Carlo DeRosa, both hailing from Italy, and young American drummer Tyshawn Sorey. The other significant change is Salamon's sound, which continues to evolve as his multiple sources of inspiration keep on brewing. This time, his playing really betrays Bill Frisell's influence even if Scofield's shadow still looms in the back. Salamon is comfortable in various roles, whether he is comping, soloing, or providing a counterpoint. Succi is another major asset. His sinuous or zigzagging lines on the alto sax provide a welcome contrast to his alternatively mysterious and scorching phrases on the bass clarinet. All the compositions are penned by the leader who seems to privilege elements of surprise, for his music can suddenly shift in any direction. Adding another strong effort to his already impressive output, the guitarist appears again to be one of the most intriguing musicians around, and who knows what he has in store for us?

ALLABOUTJAZZ (Budd Kopman, January 2007):

Kei's Secret, a smoking live set from Slovenia, while clearly coming from the same root, could not be more different from Samo Salamon's previous album, Two Hours (FSNT, 2006). On that record, three terrific musicians got together with the guitarist on short notice and recorded what turned out to be some very fine music. The wonder of the record is that there is no hint of the means of its birth.

Kei's Secret presents a band that sounds well-traveled; its members are totally comfortable with each other and able to switch gears instantly, despite touring for only a month. They also like to have fun while letting loose with passionate music in many styles. Drama reigns supreme, and virtually every note has an exciting drive attached to it. This is the kind of show where you know you have heard something special and go home floating, coming down only hours later. Every member of the band is strong. Reedman Achille Succi played with Salamon before on Ela's Dream (Splasc(h), 2005) and Ornethology (Samo Records, 2003), and his slightly acrid tone and total freedom fit the music perfectly. Super-solid bassist Carlo DeRosa leads his own group and plays in many other bands, including those of Dave Allen, Allison Miller and Victor Prieto. Drummer Tyshawn Sorey has his own group, Oblique (with Russ Lossing, Loren Stillman and Carlo DeRosa) and has also teamed up with Vijay Iyer. Salomon himself has no technical limitations and is as free a musician as they come.

Salomon's music draws from many different styles, but is always finely crafted. Each tune has a personality and a structure that allows for open-ended improvisation while maintaining a sense of shape and direction. Instrumentally, his style is quite recognizable, despite his eclectic tastes and constantly changing tone. Sometimes he will unfurl a long-limbed, graceful melody, as on "Kei's Secret," while at other timess his playing will be all small-note groups and repeated gestures. Salomon can be harmonically quite adventurous, work through simpler changes, or just groove on a vamp.

The set has quite a few high points: the amazing interplay between DeRosa and Sorey on "Catch The Train," Salomon's distorted guitar solo on "When We Go Away," and Succi's ecstatic playing on "Miss Sarcasm" and "A Step Back." Sorey, a big man with a drummer's metronome, maintains the pulse while the polyrhythms fly; he's on fire every second.

Joy was in the room that night, and we are fortunate to be able to bathe in it through this fabulous, highly recommended recording.

ALLABOUTJAZZ (John Kelman, December 2006):

Since emerging from Slovenia four years ago, Samo Salamon has been stepping up the pace with increased vigor. The result is palpable growth, which is at its clearest on Kei’s Secret. The guitarist’s playing has never been more assured, nor his voice more unequivocally his own, than on this live recording re-teaming him with reedman Achille Succi.

The same can be said about his writing. Salamon emphasizes improvisation, but he's providing ever more sophisticated contexts to challenge both himself and his bandmates. His compositions are becoming increasingly mercurial, but in the best sense of the word. “When We Go Away” begins as a ballad where he atmospherically states the initial theme with a bell-like but sharp-edged tone. As the piece unfolds, it begins to pick up speed and turn more angular. By the time Salamon’s ready to solo, his tone has turned gritty, his approach a combination of long, sustained notes, skronking atonal noise and rapid-fire lines that are echoed empathically by drummer Tyshawn Sorey. Nels Cline and Sonny Sharrock would be proud.

Succi, best known for his work with Italian guitarist Simone Guiducci’s more folkloric Gramelot Ensemble, has continually proven himself capable of greater extremes with Salamon, notably on Ela’s Dream (Splasc(H), 2005). A strong altoist, he’s perhaps an even better clarinettist; his bass clarinet solo over the staggered rhythms of “Miss Sarcasm” is a highlight of the disc.

Bassist Carlo DeRosa’s solo on the aptly titled “Catch the Train” is a lithe introduction to another tune filled with twists and turns. Still, with a warmer tone and more supple approach, Salamon’s open-minded playing is easier on the ears than what came before.

A strong leader can intuitively bring together musicians who may not have played together, before but are perfect complements for each other, and the quartet on Kei’s Secret is Salamon’s strongest ensemble to date. Whether on a soft ballad or dark funk, this group feels like it's spent considerable time together. Salamon’s charts may encourage spontaneous interplay, but the comfort with which the band navigates the seemingly constant tempo shifts of “A Step Back” and the polyrhythmic themes of “When We Go Away” is remarkable for a group together on tour for only a month.

In the short time since Ornethology (SAZAS, 2003), Salamon has grown from a promising, Scofield-informed newcomer to a guitarist whose voice is an exciting amalgam of so many influences that they’re no longer directly relevant. Salamon is no longer an up-and-comer: he deserves to be considered in the same breath as contemporary guitar innovators like Kurt Rosenwinkel, Ben Monder and Adam Rogers.

EJAZZNEWS (Glenn Astarita, December 2006):

Slovenian jazz guitarist Sam Salamon’s flourishing discography communicates diversity, excitement and ferocious chops among other niceties, as his stature within the global jazz community is on the rise. On this live date, Salamon and his quartet whirl through ascending choruses and blazing cadenzas. And he cranks it up via a quasi, Hendrix/jazz-fusion mindset during the opener titled “When We Go Away.”

The guitarist and notable Italian sax ace Achille Succi act as near flawless foils throughout, while engaging in tricky unison lines and ominously crafted phrasings. However, they temper the flow a bit on “The Return To X-Land, where the soloists’ render introspective motifs, nicely counterbalanced with dappled tonalities. In other areas, the band explores jazz-rock and free-jazz amid quirky shifts in momentum. It’s a multidirectional endeavor as Succi and Salamon weave in and out with linearly engineered choruses, marked by gritty soloing maneuvers. Possessing a monstrous technique and an intense desire to navigate multiple jazz related genres, Salamon’s illimitable enthusiasm is exemplified on this inspiring release.

ALLABOUTJAZZ (Jerry D'Souza, November 2006):

Samo Salamon has been influenced by several kinds of music, including classical. While composers like Bartok and Messiaen ignite his imagination, the guitarist can also cut a swath out of rock, feed it into his compositions, and get the whole to fit in the thick of modern jazz. The blend often makes for compelling listening.

A couple of tunes here owe their ambit to Bill Frisell. Of these, “When We Go Away” finds Salamon getting into open-ended improvisation, then settling down to unfurl a quick melodic infusion. The notes of his guitar fall in a swell that careens into the overdrive of heavy metal. Yet the feedback settles into a solo of considerable melodic strength, technique and, importantly, creativity. At the other end of the scale comes “The Girl With a Nicotine Kiss,” whose warm cloak of emotion is unfurled gently by Achille Succi's clarinet, while Salamon is content adding pastel shades in the background.

The quartet pulls out all the stops on “Catch the Train,” which is marked by a constant pulsing attack, a tumultuous vigour, and changes in direction that can shift gear on a single note. It begins with the rumble of Carlo DeRosa’s bass, and as he continues to let the bottom roil, Succi moves in at a slower pace on the alto saxophone. He soon accelerates the tempo, and when the softer permutations come in, Salamon’s limpid notes lighten the texture, but not the impact.

Salamon turns in a comprehensive performance on “Miss Sarcasm.” Here again, nothing is static: the tune evolves constantly from bop to free expression. Succi's aggressive blowing does not forsake the extension of the melody, Sorey stokes the rhythm with fervour, and Salamon opens an introspective vent that lets in a gush of harmonic invention as he stretches out in bop mode.

Salamon lets his music speak in several tongues. In doing so, he does not forsake logic or cohesion. As a guitar player, he lets insight hatch improvisation. Together they make for a winning combination.
 

SAMO SALAMON QUARTET: Two Hours (2006) Fresh Sound New Talent Tony Malaby - tenor sax Samo Salamon - guitar Mark Helias - bass Tom Rainey - drums

ALLMUSIC (Alain Drouot, May 2008):

Recorded without much rehearsing time, this album is another example of the magic of jazz, which can produce endearing music even when the musicians hardly know each other. On this occasion, circumstances helped. Guitarist Samo Salamon hired the trio Open Loose — already a tight unit — and his compositions while effective did not represent too much of a challenge to saxophonist Tony Malaby, bassist Mark Helias, and drummer Tom Rainey. In itself, the threesome is already a solid warrant of quality. Helias has an impressive facility on his instrument, Rainey's imagination seems endless, and Malaby would be hard pressed to deliver a vapid solo. As for the leader, he readily acknowledges Bill Frisell as a major influence, but ends up sounding more like John Scofield, or even John Abercrombie ("The Lonely Tune"). However, his jagged and linear delivery shows that he might be up to finding his own voice. Salamon's wit is not only displayed in song titles and his comping — he sometimes echoes the other soloist — but shows that he is quick to find a meaningful commentary to his cohorts' discourse. Full of wondrous and intricate interplay, this set easily sustains the listener's interest.

ALLABOUTJAZZ (Ty Cumbie, July 2006):

The astonishing Two Hours, from a young, European guitarist, of all people, has all the elements jazz lovers in search of worthy new projects should be seeking.

Salamon certainly can pick a band. Sidemen don’t come much, if any better than Tony Malaby, Mark Helias and Tom Rainey. If Salamon sounds a bit starstruck in the liner notes his guitar work betrays no such thing. All the playing is virtuosic: flawless in the pocket and impishly brilliant out of it...he’s set himself up at one stroke as a new jazz guitarist to be dealt with.

Salamon’s tunes are satisfyingly well-structured with strong melodies, but the record’s looseness and spontaneity (hinted at in the title, which refers to the amount of time Salamon claims the session required) is the real marvel. A paucity of rehearsal and recording time have resulted in a very special recording that will help keep jazz’ obituary from being written just a bit longer.

ALLABOUTJAZZ (Budd Kopman, May 2006):

It matters not that this recording took but two hours to record after very little rehearsal. Samo Salamon was ready with his music, and his compatriots, three well-traveled musicians with fast musical reflexes and good instincts, actually thrived when thrown into this situation.

It is hard to predict whether better music will be made by a group that has played together or one that is new and fresh. Certainly all of us have heard top-notch music from both sides of the divide. Enough has been said and written about the need for spontaneity and how that can be quashed by over-rehearsal. Many times the magic happens when old hands who have that creative fire get together and can be spontaneous because they know that things will not fall apart.

Two Hours bears no marks of the circumstances of its creation. Salamon's compositions are very strong in both melodic or structural components and thus provide enough of a framework for everyone to feel comfortable and be loose. Except for ”Where's The Bill,” a Bill Frisell dedication that was recorded with Salamon's Italian quartet on Ornethology (2003), all the tunes are new. They seem to share a subliminal connection with each other in that they feel like they are made from the same small set of building blocks. This is not a criticism, but a clear sign that this music represents Salamon at this point in time.

As the album plays, and especially when it is replayed, the essence of who Salamon is right now becomes clearer. He likes melody and has a way of creating a phrase with a memorable contour that can provide real meat for improvisation, allowing the musicians to be free, yet enabling them to keep in touch easily. Many of the tunes have a bop feel filtered through the modern esthetic, which also enables the players to explore and be free from a solid base.

Tenor saxophonist Tony Malaby is terrific throughout, grabbing hold of the melodies and breaking them down, many times playing free sounds. Mark Helias and Tom Rainey create a flexible and solid rhythmic base when needed and break away when the music demands. Very clearly listening to each other and the rest of the band, this pair makes the album the success that it is. For his part, Salamon seems to lay out a lot, perhaps not wanting to upset the balance. When he does take a solo, he is an extreme reductionist, taking his melodies apart into scale or intervallic fragments, at times sounding like he has so many ideas to get out that he might burst.

The arrangements clearly had to be on the simpler side, and yet the players shift alignments effortlessly as if they had been playing this music together for months. Knowing that Two Hours was not the result of long rehearsal only intensifies the wonder of what was laid down in the studio.

ALLABOUTJAZZ (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 (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...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...Salamon will be heard from again; his immense chops preclude him from falling by the wayside...Salamon is a guitarist worth keeping track of. 

ALLABOUTJAZZ (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. 

JAZZ REVIEW (Andrew Johnston, March 2006):

ALLABOUTJAZZ (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, Salamon’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. 

ABEILLEMUSIQUE (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 (March 2006):

Concernant Samo Salamon, 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 Salamon, 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 Salamon que je ne connais pas est un guitariste, hélas!

ALLABOUTJAZZ (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. 

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.

SAMO SALAMON SEXTET: Ela's Dream (2005) Splasch Records Kyle Gregory - trumpet, piccolo trumpet Dave Binney - alto sax Achille Succi - alto sax, bass clarinet Samo Salamon - guitar Paolino Dalla Porta - bass Zlatko Kaucic - drums

ALLMUSIC (Michael G. Nastos, May 2006):

Slovenian electric guitarist Samo Salamon is a young jazz modernist very influenced by Ornette Coleman's harmelodic and approximate note theories. On this concert date in Ljubljana, Salamon's sextet plays drawn-out extended pieces based on a certain amount of arrangement, but basically are vehicles for strong improvising and blowing. American alto saxophonist Dave Binney joins Salamon's European friends — alto saxophonist and especially bass clarinetist Achille Succi, the excellent bassist Paolino Dalla Porta, drummer Zlatko Kaucic, and trumpeter Kyle Gregory. The front line of this band is well-formed in the spirit of Coleman, with Salamon's steely, jaunting, animated six-string very much in the midst of it all. The near-20-minute title track, dedicated to the leader's golden retriever Ela, is an amazing musical statement from start to finish. Kaucic's playful drum intro leads to a singing Succi on bass clarinet, and Gregory with Salamon wringing out wet lines, sets up Binney's distinctive, slipping and sliding, angular, piquant, signature solo discourse with only a rhythm section. The altoists' ideas are truly inexhaustible, and the piece is written with his individualism in mind — dig in! He and the front line melt effortlessly into a spontaneous sounding repeated triple-triplet figure that makes the piece take off even further. The track sounding most like Coleman is "Coffee with a Girl" at almost 19 minutes, using clipped-to-lengthening melody phrases precluding broken, brittle free improv, which upon each repeat employs differing timbre and time inferences before swinging the bridge hard. It's stunning music. Straddling spirit waltz and tick-tock precision, Binney and Gregory are very united, merging sounds for "Emotional Playground," while a tuneful, head-nodding blues meets stalking bass en route to a heavy complex 11/8 mid-section during "Broken Windows," and you hear Ela's assimilated woofing on the intro of the scattered, running wild "There's Still Dog Food Left in It." This is very hip, creative, muscular new music from an emerging voice that is at a departure gate from his influences of Coleman, John Scofield, and Mick Goodrick. It sounds like he's well on his way.

JAZZ WEEKLY (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 Kaucic is a well-traveled Slovenian, who works throughout Europe and recorded an interesting duo session with reedist Mauro Negri.

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. Kaucic’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. 

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 Kaucic, 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. The combination of his supple lines and first -class blowing makes most of the work here memorable.

SUONO (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 (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 (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 (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 Kaucic, 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. 

GOLDMINE MAGAZINE (Joe Milliken, May 2005, USA):

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.

VECER (Darinko Kores Jacks, May 2005):

Two pieces were masterfully upgraded by the almost expected home guest, the young electric guitarist Samo Salamon, who otherwise cooperates a lot with Kaucic (also on Salamon's last record Ela's Dream, which was released on Splasch Records). He played so well and with such an interplay with the band that a new recording of this band wouldn't be a surprise. We can hardly wait!

ALLABOUTJAZZ (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.

DELO (Gregor Bauman, April 2005):

Impressions for Every Day

Although he is really young, the home guitarist Samo Salamon has recommendations, which are highly convincing. In good five years he made something virtually impossible. From a beardless young man, who was faithfully following the newest ideas of musical virtuosos, he tried to understand them in the best possible way in an inner understanding, he developed to a recognized musician, composer, who wasn't just satisfied with repeating the gained knowledge, but was trying to upgrade its contents. In this way he distanced himself from many musicians who just play traditional jazz without personal touch. He doesn't deny his respect to the heritage, however he doesn't like standing on one place. He has in this way transcribed concepts, with which Ornette Coleman revolutionized jazz in the end of the 50s and in the beginning of the 60s. The result was the album Ornethology, which gave Samo a wider recognition, new acquaintances and a praisse-worthy quote in AllAboutJazz - Ornette's Slovenian Hands. All this opened the doors for Salamon to the international jazz world, it gave him a chance to work with accomplished musicians and a deal with the Italian label Splasch Records. This combination was also resulted in the last project Ela's Dream, which presents a CD of a concert recorded in Cankarjev dom from april in the last year's tour.

Samo has this time again taken his business very seriously. He collected around himself musicians who somehow understood his vision and have also equally guided him. Individual thought were adapted to the collective, ideas which were being born in the sextet.

The music is therefore full of innovation, amusing and productive improvisation contents: it is especially the result of the flexibility and strong knowledge of the musicians, who can be part of the group play, but can at the same time run into individual experiments. Occasional phrasings still remind to the artefacts of Coleman's heritage, but in them we can see a step forward. Careful listening clearly reveals that Samo is developing his own style, which brings the musicianship to a new level of maturity. The contents are not just the fruits of enthusiasm, but are the result of profound tehnical knowledge and self-confidence. One must just say that he is fresh and daring. The sextet (Samo Salamon - guitar, Dave Binney - alto saxophone, Achille Succi - alto saxophone, bass clarinet, Paolino Dalla Porta - bass, Zlatko Kaucic - drums) works therefore really as a compact unit. In each moment Salamon is aware of his place, although there is freedom in the music. He perfectly manipulates with creative achievements of modern improvising streams, but he is also careful that he does not go off the track from the set coordinates. Discipline in freedom, which Zlatko Kaucic also supports.

We can't miss something else in the epilogue: all tunes on the CD are the result of creative original input, which come from Samo's impressions of everyday life. Each of them is a story for itself, an emotional vignette from his most close surroundings, like the author himself explains in the liner notes. Samo is with this not only showing his open-mindness and vast knowledge, but also a personal maturity since he is most sincerely explaining things (emotions) which he has experienced and are a part of him. Definitely a rare quality on domestic stage!

POLET (Jure Potokar, April 2005):

Champions League - Guitarist Samo Salamon is so far more appreciated abroad, where he published his new album Ela's Dream for the label Splasch Records

Let's once again repeat some of the basic data because it seems like the international success of the young Slovenian guitarist is not particularly in the interest for wider public and especially the media. Maybe it were different if we caused scandals, dyed his hair to green and would kiss something of the editors of public media. But unfortunately he does not do this becuase he doesn't have the will or time for it. The 26-year old guitarist from Maribor uses his time in a more useful way for his studies (he is finishing his masters from American Literature) and his guitar practice. Every day. Lately at least five hours each day. When he has a chance he loves to perform, but as you know you can't do this so much in Slovenia. When you play once the Ljubljana Jazz Festival, you are out for at least three years, so that others from the "union list" get a chance. It doesn't even matter if they did something interesting or not. Other "festivals" are even more fun - they demand exclusivity. If you want to perform on them, you are not allowed to play anywhere else in Slovenia!

But Samo Salamon is just bursting from energy and creative ideas. To realize them he is willing to go through anything. Last year he went for instance to New York and recorded at his own expenses two new projects. With excellent, world-recognized and accomplished musicians. The first project features alto saxophonist Dave Binney, trombone player Josh Roseman, bassist Drew Gress and drummer Gerald Cleaver, while the second one features tenor saxophonist Tony Malaby, bassist Mark Helias and drummer Tom Rainey. If these names don't mean anything to you, let me tell you that they belong to the first league of the most creative jazzers of current time.

When these two projects will be released is still a question, but not so unsolveable as you might thing. Samo has opened many doors with his last album Ornethology (2003), which got great critics not only in Slovenia (also in these pages) but also abroad. Especially in the USA, where AllAboutJazz pronounced the record as the album of the week and also was praising it a lot ("Salamon is major league material."). In this way Salamon could also publish his latest album Ela's Dream with the prestigious Italian label Splasch Records.

The release of this record shows in the best possible way with how an important break-through artist we deal with. Samo Salamon has almost exactly a year ago gathered five internationally recognized musicians and has managed to organize a real tour of ten concerts in Slovenia, with the highlight in Cankarjev Dom. This concert was recorded in it was clear in the first moment that we listened to a first-class, juicy jazz on the crossroads between tradition and improvisation, where Salamon despite his youth strongly led the musicians, who were much older and more experienced. The album showed that the CD exceeds all expectations. The Italian label decided to release the music and this happened really quickly.

This isn't a surprise because the record brings music which is greatly composed, sunny and daring, and at moment it almost amazes because of its imaginative concepts, techinally brilliant playing and surprising interplay of all musicians. Salamon, who composed all the music, clearly shows that he still coming out from what excites him in the music of the great Ornette Coleman, but he is more and more obviosuly original. It seems like this time he was especially interested in harmonic possibilities of the expanded band with four soloists and it is really beautiful to hear how effective is the sextet. The sound palette is exceptionally luxurious and although it is clear right away that the alto saxophonist Dave Binney is the greatest and most aggressive musicians on the record, the contribution of others is no way less important since we are dealing with the always first-class alto saxophonist and bass clarinet player Achille Succi and trumpet player Kyle Gregory. A special praise goes to the fantastic rhythm section of bass player Paolino Dalla Porta nad drummer Zlatko Kaucic, who is not only taking care of the rhythm and drive, but is upgrading his basic function all the time with incredible imagination and telephatic harmony. Equally noticable and incredible and also less held back than on his last record is Salamon, who is also on the technical side maturing and developing into an excellent, unique and already now very recognizable guitarist.

Ela's Dream is in all aspects an excellent album, one of those by which I will remember the year 2005 and Samo Salamon can be justly very proud of it. It would also be fair that the Slovenian cultural public would also admit its perfection because by its meaning it equally reaches the international success of most Slovenian artists.

MLADINA (Ico Vidmar, April 2005):

Liner notes in CDs are not just like that. The character of the edition frames them, but generally they are a preparation for the entrance into the musical world, they are instructions for ("correct") listening. If the musician himself is the one who prepares them, then we see so much more the connection of the discursive with auditive. We have to read carefully the words of guitarist Samo Salamon when he is explaining and opening ways to the presented music of his sextet. Something to remember is definitely his honest and full-of-respect thanks to the older and more experienced musicians since after all he was in the band their "boss". The young Maribor player really honestly and maturly shows to the most vital in jazz, this can be breakable but gives surplusses when it comes to musical friendships, productive oppositions and learning through musicianship, especially when it comes to social aspects in music.

The members of the international group are trumpet player Kyle Gregory, alto saxophonist Dave Binney, saxophonist and bass clarinet player Achille Succi, bassist Paolino Dalla Porta and drummer Zlatko Kaucic. We can here just add, like we have for the album Ornethology, that Kaucic is a great teacher to young musicians, but not only that. He is also and open musical pedagogue who invited many talents into openess of forms through his teaching. Salamon is therefore not the first or the last. Album was recorded last year in Cankarjev dom.

It gives a lot, especially much more self-confidence in composing and realization of jazz material. But with something much more important, it gives a guitarist who is slowly gaining a personal sound, "the usual dirty" sound of the jazz guitar is slowly getting rougher, is looking for colors and dynamic nuances, which can be strongly heard in solo parts, but work in a compact way in the role of support and especially group playing. Salamon is becoming a skilled composer, who knows the conventions, history of jazz, which can be a guide to new articulations or just lost spinning in patterns. Ela's Dream represents the first, he can deal with historic material and develop it into his own vision, into an interplay of tension and release in the structure of the music. The music is not simple, but it has a beautiful logical arch, where the soloist can find himself and where also the group can work. Great and obligatory music.

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".

FINANCE (Gregor Bauman, April 2004):

There is a birth of new creativity in the home jazz production, which is not part of the already heard, for many boring nad endlessly repeated patterns that we know for decades. Therefor is the freshness with which Samo Salamon excites from last year on really a welcome sound innovation. It is always elastic and daring, on the boundary of pleasure and experiment, and for many non-experts almost an extreme deviation to free jazz. But still it has a really solid foundation, clear compository basis, which is intervened ocassionaly with solistic parts, bound to time and place. I watched two concerts of Samo's sextet - in Skofja Loka (in the great hall Kristalna dvorana) and in Cankarjev dom, so I can easier draw the line. The same program sounded totally different on both venues. It kept its witty character, while with freshness it was discovering fields of sound, which were introduced also by individual improvisation mood of different players.

Samo Salamon's Sextet has introduced to us a totally new chapter. Fluid lines, aware to movings from instrument to instrument, humorous interplay, which was only waiting who will play with it more and give it further to group improvisation. The compositions had the idea of a living entit which is constantly changing. It is hard or almost impossible to talk about advantage lines since the sextet worked on the principle of 6x1 and not the other way around. Especially the melodic bass of Paulino Dalla Porta does not provide just rhythmic background, it cathes the melody, it turns it around and leaves to the hands of Samo Salamon's guitar and the hotn section of Dave Binney (saxophone)-Achille Succi (bass clarinet, alto saxophone)-Kyle Gregory (trumpet). Meanwhile Zlatko Kaucic dresses all this "confusion" into the rhythms of his drums in a defining and calm way. Virtousity, fresh and inspiring! Definitely a musical model which deserves a CD!

VECER (Darinko Kores Jacks, April 2004):

Samo Salamon, the guitarist from Maribor, has taken his studies of music not within institutions, but has worked individually with some of the best teachers around - his most important teacher and influence is the famous John Scofield. His Ornethology Quartet is also not formed by young players who are striving to achieve the heights of jazz, but is formed by experienced masters with years of playing. In such surroundings it is much easier to develop your music, and although the youngest, Salamon is excellent as the leader of the band, especially with his composition work and playing of the guitar he excels (he showed many excellent solistic parts, including superb control over the fingerboard of his guitar). Solistic mastery was shown also by other members of the group, drummer Zlatko Kaucic and the italian musicians Achille Succi (saxophone) and Paulino Dalla Porta (bass). Speical attention was of course also given to the two USA musicians, with whom the group went to the road on the last couple of days in Slovenia and around. These are the trumpet player Kyle Gregory, living currently in Italy, and saxophone player Dave Binney as a special guest. Solistic parts absolutely didn't sound out of the music, which was one complex unity, but were its organic parts. We heard excellent musicianship with lots of creative improvisation and innovation. Although it was already almost midnight at the end of the concert, we could easily listen to more of such music!

SAMO SALAMON QUARTET: Ornethology (2003) Samo Records Achille Succi - alto sax, bass clarinet Samo Salamon - guitar Salvatore Maiore - bass Zlatko Kaucic - drums

ALLMUSIC (Michael G. Nastos, May 2006):

European electric guitarist Samo Salamon listened extensively to the Atlantic Records sessions of Ornette Coleman as inspiration, but not source material, for this CD. In fact, Salamon's frame of reference further departs from Coleman's with his instrument, and the liberal usage of bass clarinet from Achille Succi, who does play some alto saxophone. The result is a quirky yet intriguing original sound that only marginally borrows from Coleman's harmolodic theorems, yet echoes the possibilities of the more electric sound Ornette employed with his band Prime Time, sans the overt funkiness and extended overblowing. Mixed time meters and a hopping modal front signify "A Fake Monk," while stark stop-start techniques work up to a free bop frenzy on "Alien Child." These initial tracks indicate quite clearly the variations away from Coleman that Salamon conjures. A New Orleans shuffle supports splattery to honking bass clarinet on "Out for a Walk," the hard bopper "Where's the Bill?" is more akin to a modernistic Phil Woods, and "Something Ology" advances the modernism into neo-bop. "Two Poles" resembles jazz fusion with wah-wah incursions, but is generally a nice, neat, and clean tune. Salamon has a keen ear for invention and melodic uniqueness, as is shown on the nine compositions he claims. The most resolute and dark, "Tribeca" is many feet underground, resting on a 4/4 plate of modality and eeriness. There are several snippets of solos from each member of the ensemble, one a birthday party conversation, some long-toned, and others totally free. They do have a go at Coleman's "Humpty Dumpty," the sole cover on the date, a quick take with measured call and response between Succi and Salamon. This very likable recording bodes well for the young guitarist as a possible future innovator and a present force to be reckoned with.

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.

DNEVNIK (Jure Potokar, December 2003):
 
Additional quality was brought to the group by the excellent guitar virtuoso Samo Salamon (currently he is making the all over world enthusiastic with his album Ornethology), who enrichened the music with his typical sound!

SLOVENIA TIMES (Gregor Bauman, December 2003):

This record is undoubtedly one of this year’s best from a local artist. It has received very positive international feedback in many significant jazz magazines, such as All About Jazz, Jazz Live, EJ Jazz News etc. Šalamon’s music is based on his study of Ornette Coleman concepts but he has translated these with youthful energy and in his own unique way. On this album he is accompanied by experienced jazz musicians, such as well-known percussionist Zlatko Kaucic and guests from Italy –- Achille Suchi (sax, clarinet) and Salvatoire Maoire. As we have said previously in the ST Ornethology brings us a rich musicianship, witty music, a bit of John Scofield, (who is Samo’s mentor), and music worthy of the name of Ornette Coleman, so it’s no surprise, that John Kelman has commented that: “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.

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.

CHRIS POTTER (November 2003):

Very open music conceptually – great use of textures and sounds.

JAZZREVIEW (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.

ALLABOUTJAZZ (Javier Quinones, October 2003, USA):

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 - 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!”

FINANCE (Gregor Bauman, October 2003):

The record Ornethology of the young Maribor guitarist Samo Salamon is a proof enough that there is a new modern jazz generation growing in our small community, which is finely cruising between improvised artefacts of tradition and blending them into technically recent conceptual directions. However, it would be wrong to assume that these projects deal with some more complicated translating of the jazz legacy, without individual thinking. Therefore we can talk about freshness and wider integration, which shows us totally new sound landscapes as a sign of boldness, virtuosity and general respect towards the material from where the music gets its tale. Samo Salamon has not long ago studied (transcribed!) the legacy of the great Ornette Coleman, which was left behind by this influential free jazz saxophone player while recording for the record company Atlantic (the end of 50s and the beginning of the 60s). Anyone would here say right away that we are dealing with a project of Coleman's arrangements, however this is not the case. Ornethology brings us a collection of music written by Salamon (with the exception of Humpty Dumpty), which is only leaning on the "translated" concepts of Coleman, naturally adapted to the lineup of the band. The improvisation pieces are a sum of healthy thinking, wide education and especially sound sensuality, which sublimely bursts out from the interior of the human and performer. And this exactly gives the album its additional value since all throughout the album we can feel the incredible relationship between respect for the past and the unforceable discoveries of the new. The combination, which can sometimes be superficial, is in this case highly convincing and inspires us with general playability of the band (Samo Salamon - guitar, Zlatko Kaucic - drums, Luigi Mosso on bass and Achille Succi on alto saxophone and bass clarinet), which was shown by the quartet also on the latest Ljubljana jazz festival. At that time we might have been talking about a surprise, but the album tells us already at a brief listening that this is not a coincidence. Rich musicianship, witty music, a bit of John Scofield, who is Samo's role model and mentor, and music worthy of the name Ornette Coleman, is one of the nicest jazz production pearls around, cleary aiming abroad. The home place and community is namely intelectually and in numbers too small for the music of such heights and importance.

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!

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.

POLET - Ornethologist Samo (Jure Potokar, September 2003):

The young guitarist from Maribor is perhaps the nicest surprise of Slovenian music this year!

Although he is really young has the guitarist from Maribor Samo Salamon (born in 1978) published already three records as a leader, two with a trio (A Dream Come True and Arabian Picnic, both last year). Considering the circumstances this equals a venture, even if we didn't deal with how the records are from the musical point of view. Since I have heard only the latest, I can say for that one that it is one of the nicest surprises of the home production this year. It brings us juicy and witty music, which is an extremely successful mix of jazz improvisation and tradition, without one being below the other. So, we don't have to wonder that Salamon's performance on this years jazz festival was among most pleasing and productive moments of the show.
The record Ornethology is a result of extensive listening of collected recordings of the great Ornette Coleman for the Atlantic Records. Not only listening. The guitarist has transcribed all the tunes (which also equals a venture) and wrote down the concepts, which Coleman played (in the end of the 50s and beginning of the 60s) and with which he strongly influenced jazz. From all this huge amount of work there is not much Coleman's music on the record (only the excellent version of the tune Humpty Dumpty), but there are more ideas, how it should also be. It is more important that Salamon opened in this way the doors to the understanding of some more productive jazz concepts, which serve as a basis for creating very imaginative tunes written by Salamon, which are recognizable enough already at first listening.

This is what makes the record Ornethology so fantastic, although its virtues do not end with this. Equally important is that Salamon has on the guitar a totally recognizable style, which hardly resembles to what we are used to and tired of when listening to jazz guitar. it is true that we can still here John Scofield in Salamon's style, since Salamon studied with him, however his style is already personal and self-confident. This stands especially when he is phrasing with the horn player (perfectly supplementing with the bass clarinet of Achille Succi), or playing solos, which are rarely heard as we would imagine them on a guitar. If we add to this the excellent playing of the whole quartet with the important role of the percussionist Zlatko Kaucic, with whom Salamon was learning years ago, then we get a record that simply convinces!

At the end the most important are after all the excellent compositions of Salamon and inspiring musicianship. That is something that is really not missing on the record Ornethology.

DAVE DOUGLAS (August 2003):

Great playing and writing!

MUSKA (Mario Batelic, August 2003):

Something totally different is Salamon's new band Ornethology Quartet, whose name already says that it is a dedication and homage to Ornette Coleman. Under the mentorship of Zlatko Kaucic and cooperation of italian musicians, the reed player Achille Succi and bass player Salvatore Maiore, Salamon is more than succesfully dealing with Ornette's "theory and praxis". The music on the album is witty and full of surprising turns. It is never linear, it stick to the ideas of harmolodics and gives each instrument an equal importance. It is interesting that Salamon also gives homage to Monk, but not with a cover version but in his own tune A Fake Monk, which is more than a successful introduction to the album with its groovy rhythm and sharp sounds. There are some group improvisations on the album, however the writer is mainly Salamon, who blends in perfectly with a lot more experienced musicians.

MUSKA (David Braun, August 2003):

Salamon is a type of a modern musician, his thinking world incorporates all positive guidelines: he thinks eclectically and plays without burdain the music with his individual character, while working more and more internationally and in a integrative way.

MLADINA (Ico Vidmar, July 2003):

This album is in more ways an exception in defining and practicing jazz in our country. The biggest one is hidden of course already in the title, bringing with it an inspiration, studious listening, learning and after all also a fight with rules, which are nowadaya being taught to a young musician by the music jazz schools, magazines, media and the mainstream jazz listeners community. Album is a dedication and a thanks to Ornette Coleman, the innovator of modern jazz, maybe even the biggest one after the 2nd World War after Charlie Parker. The second exception is that the venture is done by a jazz guitarist. Samo Salamon from Maribor was not part of that style of guitar playing, which over John Scofield and others influenced all the guitarists and made them sound virtually the same. The turn is that the guitarist is looking for new and expanding his musical horizons. The third is not an exception anymore. Samo's musical mentor was namely Zlatko Kaucic, his coplayer on the album and according to the names of Italian musicians on the album the one who has a lot to do with the quartet. The band contains the reedman Achille Succi and bass player Salvatore Maiore. The result is a jazz album mostly of Salamon's compositions, which at the end come from traditional bebop, thematics, enough complex structure, but among them we also find openings, where the guitar is not caught in a sample, where the co-players breathe more freely, where there are moments of different homophony, how Coleman would also call his group play. Since the album was in self label and Salamon's quartet performed on many jazz festivals, it will contain enough good and partly also witty music. I give a warm welcome to the home ornethology.

LJUBLJANA JAZZ FESTIVAL (June 2003):

Slovene answer to John Scofield...

DNEVNIK (Jure Potokar, June 2003):

A real pleasant surprise was the performance of the young guitarist Samo Salamon with his Ornethology Quartet, where he promoted his new album and showed that he is turning in one of the most interesting Slovenian jazz musicians. Salamon plays the guitar in his own way, he likes to play unisono with the other soloist (this time with bass clarinet and alto saxophone player Achille Succi), beside that he has many creative ideas in imagination, so that we can expect a lot more from him. This stands also for the quartet, where great playing was offered from the bass player Luigi Mosso and the excellent drummer Zlatko Kaucic.

VECER (Darinko Kores Jacks, June 2003):

Even more was a surprise the young Maribor guitarist Samo Salamon. His Ornethology Quartet (the name already tells us that it is a hommage to Ornette Coleman, although it alludes to ornithology) with the drummer and some kind of mentor Zlatko Kaucic, the recognized and known saxophone player Achille Succi and bassist Luigi Mosso (in the original lineup plays Salvatore Maiore) have introduced themselves with lively and listenable jazz, spiced up with modern and humorous interplays and parts in between. If we are at jazz and jazz guitar, we already after the first project of Samo Salamon almost definitely say that he is going to grow big.

FINANCE (Gregor Bauman, June 2003):

If I gather up the festival (Jan Garbarek, Evan Parker, Ron Carter), the best was heard from the home guitarist Samo Salamon and his Ornethology Quartet, which was definitely on eof the highlights of the festival. Samo Salamon is a definite proof that there is a new generation of musicians in Slovenia, who build their music on modern improvisation with all respect to the tradition. Great fusion of young energie in experienced cats, where Zlatko Kaucic functions as a mentor and whose drummers' qualities do not even have to be described. The group played with lots of imagination and creativity, it was enough daring and also enough melodically loose. Humoruos elements have sometimes subtly covered up the highlights, which were transfered from instrument to instrument and in the final phase it was an end a group improvisation in excellence.

MUSKA (Rok Juric, June 2003):

If we classify Salamon as a classical, orthodox jazzer, what he definitely is not. But when we classify him in the meaning of modern jazz, where the limits to other musical directions are narrow, then he is a jazzer. His musical creativity gets its inspirations in many worlds - classical jazz, improvisation and free, he reaches to the fields of etno and folk music, integrates urban music of jungle, drum'n'bass and fusion. Although he would probably be capable of joining all this different worlds in just one project with his guitar and compository thought, he does not fall under this popular turbo eclecticism. For almost every direction he has his own group. He has already entered visibly with two groups among us: the Ansas Trio and Ornethology Quartet. Ansasa published namely a really pleasant and fresh CD Arabian Picnic, while with the Ornethology Quartet he is presenting himself on the Jazz festival in Ljubljana.

Ornethology Quartet is a lineup, where the only 25-year old guitarist manages to get together old cats like Zlatko Kaucic on drums, Achille Succi on bass clarinet and alto saxophone and Salvatore Maiore on bass. The names that he saw on stages in one or the other role are not of that kind that you can buy with money, you need namely much more: ideas that inspire them, everything is needed to reach a synergy at the end. And if cats like Kaucic and Succi leave the iniciative to a younger guy, then this is the best proof of his quality. Already the selected musicians show that this project of Salamon is more jazzy oriented, even more leads us to an orthodox jazz direction the title of the quartet, where we discover Ornette Coleman. Although is Ornette's jazz orthodox only from the time perspective, we can also through his music and especially through Salamon's music follow the strong symbiosis with the new jazz, which is so hard to define. However, Salamon fits with his guitar perfectly into this profile. This one is quite often really fast, but accurate, but it can also be really tenderly dreamy and soft. How similar to John Scofield, with whom Salamon has learned with in the past.
That is why it is worth to check out also the Slovenian performance on this year's 44th Ljubljana jazz festival. He came there because of his real freshness and youth, which Salamon is offering although he has older players surrounding him. He is not there because of the intention 'let this guy play, he did a lot for the slovenian jazz', which was too often leading the choice for the slovenian act on the jazz festival.

SKRITE NOTE (David Braun, May 2003):

The Ornethology Quartet is not only a proof that Salamon is one of the most creative slovenian musicians, but that the Ornethology Quartet is one of the rarest groups in Slovenia, which is opening doors to international jazz.

ANSASA TRIO: Arabian Picnic (2002) Samo Records Samo Salamon - guitar Vasko Atanasovski - flute, soprano saxophone Zmago Turica - violin Samo Pecar - bass Andrej Hrvatin - percussion Nino Mureskic - percussion

JAZZREVIEW (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 (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):

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.

DNEVNIK  (September 2002):

The Ansasa trio is made up of musical "masters" from the Styrian end, these are percussionist Andrej Hrvatin, bass player Samo Pecar and guitarist, main author of the songs and the leader of the band Samo Šalamon. An interview with the latter was introduced on Pop vibracije pages a good year ago, when Arabian Picnic was yet a demo recoding. The most interesting data from the history of Šalamon's guitar study is without a doubt learning with famous american jazz guitarist John Scofield in New York. The guys from Ansasa were at that time intensively searching for the sponsors who would help them record the album and put it on the music shelves. They obviously succeeded. Thank God! Arabian Picnic is composed of very interesting and in respect to author's youth incredibly mature compositions, rather improvised musical mixture of jazz and traditional arabian, balcan, indian and other musical elements. Despite their complexity they astonishingly quickly stay in listener's ear. Very, very likeable!