Magnus Murphy Joelson &Ojkos: Noe gøy på M(etamorfosis)
Smeik

Look no further than the title of this latest project by Magnus Murphy Joelson (b. 1991) for evidence of the Norwegian trombonist's irreverent side. Translated as “Something fun beginning with M,” the six-part composition makes its way through twenty-one whimsical minutes with the Oslo-based jazz orchestra Ojkos as his partner-in-crime. Don't think, however, that a humorous bent and musicianship can't go hand-in-hand: Noe gøy på M(etamorfosis) beguiles as much for its intricately composed material as its cheekiness. Imagine Frank Zappa collaborating with Charles Mingus, and you're halfway there.

Joelson's credentials speak for themselves. He's studied at the University of Stavanger and the Norwegian Academy of Music and is an active member of ensembles such as Vestfold Jazzensemble, BenReddik, and, of course, Ojkos as well as a number of his own; he's worked professionally as an arranger and written commissioned works too. The ensemble he's working with on the release is also special. Ojkos is a large outfit—by my count, sixteen players on this recording (as well as three adding overdubs and one more electronics)—comprised of composers and musicians equipped with diverse backgrounds and influences. Horns, woodwinds, strings, guitar, vibes, electronics, and a full rhythm section power Ojkos performances with considerable oomph, and elements of Norwegian folk music, European jazz, and even twentieth-century classical might find their way into any given Ojkos composition.

Noe gøy på M(etamorfosis) is very much Joelson's baby, however. He wrote all five of the compositions—two of them multi-movement—and co-produced the album with Arne Martin Nybo. That said, he's hardly the only soloist as they're liberally shared. With a heavy rock groove grounding the opening “Poem 4 Ojkos,” the material provides a fabulous showcase for Ojkos's ensemble playing and the skill with which they're able to build separate cross-currents into a tempestuous polyphony. Flutist Henriette Eilertsen soars over the big band during this promising scene-setter, before chugging horns and serpentine woodwind phrases send the breezy “Noe gøy på B(elly of the Whale)” on its merry way with Joelson himself leading the charge.

With Mike McCormick sprinkling electronics across its smooth surfaces, “Refusal of the Call” spotlights Ojkos's sophisticated side with horns, woodwinds, vibes, and guitar collecting into a sultry, singing mass and Tancred Heyerdahl Huse contributing a memorable trumpet turn. Kristoffer Fossheim Håvik initiates “Midten på alt (starten)” with a resonant piano introduction, after which a soprano saxophone solo from Camilla Hole deepens the mystery before the performance blossoms into a rousing, full ensemble expression. The music continues without pause into the work's second part, “Midten på alt (slutten),” this one arresting for tricky counterpoint that's as complex as something Steve Martland might have written.

Advancing as it does through six parts, the title composition is a multi-faceted thrill-ride of mercurial design. Electronics, horns, and woodwinds percolate and sing as the group works its way through the suite, with individual members stepping forth to impose their personalities. Flugelhorn, soprano saxophone, trombone, vibes, and scalding guitar emerge from the ensemble to push this dizzyingly intricate creation in different directions, and stylistically the piece weaves jazz, rock, and even a hint of dub into a wild tapestry. Joelson was smart to conclude the work on a calm, relatively serene note with “Noe gøy på M(aster of the Two Worlds)” when so much of this travelogue is action-packed. One could easily picture this robust showstopper eliciting wild applause after a live presentation.

April 2024