Norwegian trumpeter Mathias Eick has played on some of my favorite ECM titles of recent years, particularly Sinikka Langeland’s spine-tingling Wind And Sun and Manu Katché’s Playground, and he has quite an extensive discography as a leader as well as a side player. His horn’s beautiful, warm and expressive tone is always a welcome mood booster, whether on his own project or as an accompanist. On Lullaby he’s chosen a quartet format, leading a group of masterful improvisors who are as eager to explore as he is: Kristjan Randalu on piano and Ole Morten Vågan on double bass, with drummer Hans Hulbækmo making his ECM debut.
This is such a strong and appealing album from beginning to end, I think it’s going to figure prominently in my listening for some time to come. Whether playing in ballad mode or more upbeat and rhythmic numbers, this quartet truly shines, with the expert touch of Manfred Eicher producing.
Hulbækmo, I think, was an excellent choice behind the kit. He has an extensive discography himself, largely with various ensembles such as Moskus and Skakadyr, on Hubro, the experimental and jazz oriented imprint of Norway’s Grappa Musikkforlag. Here he proves key to the proceedings, settling into a groove and contributing to the musicality of each piece. He generously was given the opportunity to begin the album in a solo introduction to the first track “September,” a delightful tune that lets the listener know that Lullaby isn’t going to put them to sleep.
Eick’s horn is up front throughout, perhaps most prominently on the flowing, upbeat “May.” To my ear this is mainly an ensemble album, with the rhythm section collaboratively and solidly supporting Eick’s often wistfully or somberly colored melodies on the trumpet – and on a couple of occasions (on the somewhat martial “Partisan” and the haunting “Free” – on voiced melodic lines. Estonian pianist Randalu does take brief solos at times, as on “September” and throughout large portions of the balladic “My Love” and “Hope” and the elegiac title tune “Lullaby,” written shortly after the beginning of the war in Gaza. Vågan’s bass lines stand out on “Free,” as does Hulbækmo’s delicate snare and ride work as both frame Eick’s horn-like vocals. And everybody gets into the groove on the solidly jazzy final track “Vejle (for Geir).”
Elegant compositions, inspired playing, sensitive ballads and intensive grooves. Lullaby is cozy jazz for all seasons.
(ECM, 2025)
