Fjære is the fourth album by Espen Berg Trio, an award-winning jazz trio from Norway. Composer and pianist Berg in 2016 received Norway’s biggest jazz scholarship, which led to a commissioned work for the Trondheim Jazz Orchestra. The trio’s recordings, especially their previous release Free to Play was critically praised by jazz publications internationally.
The trio in addition to Berg is Bárður Reinert Poulsen on bass and Simon Olderskog Albertsen, drums. This is the first time a recording by the trio has included guests, the best known of which is highly regarded Norwegian trumpeter Mathias Eick, who plays on a couple of the 11 tracks. Also appearing on one track each are Hanna Paulsberg (sax) and Silje Nergaard (vocal).
Strong melodies are one of Berg’s strong suits as a composer, and there are plenty here. The other notable characteristic of this trio is the intimacy of its members’ interactions. Both are on display on nearly every track, so the opener “Vintermørke” is a good place to start. It’s an especially good example of the way Nordic jazz can be an aural reflection of a winter landscape, and Eick’s subtle long note contributions are a stylish counterpoint to the metronomic cohesion of piano, bass, and brushed cymbals.
My favorite, and a jazz highlight of the year so far, is a piece entitled “XVII” and its ninety-second introductory track on which the deceptively complex rhythm is established by handclaps. This piece is rhythmically and melodically inventive and interesting all the way through, and despite comparisons among reviewers to Mehldau and Jarrett, on “Intro to XVII” and “XVII” I’m more reminded of the Vince Guaraldi Trio at its non-Peanuts best. Ditto the tune called “Nikolai,” with Oderskog Albertsen playing drums by hand, bongo-style, and Berg and Poulsen cooperating on a melody and counter that maintain interest. It’s sunny, but with occasional dips and weaves in mood that keep the listeners on their toes. Also very impressive is “The Fourth Awakens,” an upbeat piano bop excursion that does indeed have some Jarrett influences.
I’m less than fond of much of the rest of Fjære, however, but mostly it’s just my personal preferences because the playing can’t be faulted. The production by Michael Scott Hartung gives everything a glossy, sunny ambience which seems less intrusive on the tracks I’ve mentioned. The one feature of “Vintermørke” that I don’t care for is what sounds like a high droning synth, but it’s not credited so I’m not sure what it is; that and the production give it and some other tracks, particularly the slower ones like “Svalbard” and “Åkervise” a bit of a smooth or lite jazz aura. Along these lines, Hanna Paulsberg is a fine saxophonist but the production doesn’t do her any favors on “Åkervise.” “Magnetic Peaks” is interestingly portentous and mysterious, with Albertsen’s snares set very loose and rattly, but the piece ultimately feels aimless.
Kudos, though, to Berg for including a cover of Paul Simon’s “I Do It For Your Love,” sung affectingly by Silje Nergaard. You don’t hear enough jazz covers of Simon’s catalog, which should be remedied. He used a lot of top jazz sidemen on his solo albums, including this song which was on Still Crazy After All These Years. His songs would seem to lend themselves to jazz interpretations, and this is a case in point.
Overall I find Fjære enjoyable but uneven, although not because of any of the performances.
(Odin Records, 2022)
