Nat Bartsch: Hope Renewed
Amica Records

Much as she did in refashioning 2018's lullaby album Forever, And No Time At All into Forever More two years later, Hope Renewed sees Australian pianist/composer Nat Bartsch exchanging the gentle neo-classical arrangements of 2021's Hope for a jazz quartet makeover, albeit one with classical musicians and ambient electronics factoring into the equation. If Hope constituted Bartsch's way of addressing the pandemic-related struggles of 2020, Hope Renewed, her seventh studio album, expresses optimism, however tentatively, for humanity's recovery from a devastating historical period. The earlier album brought comfort to both its creator and her listeners during a traumatic time; the expansive outward-reaching character of the new one symbolizes the spirit of renewal we're now sharing.

Bartsch is that rare musician who sits equally comfortably in jazz and classical camps. It's worth noting that she started out leading a piano trio in Melbourne's jazz scene whilst also keeping her ears open to the music of progressive outfits like Sigur Ros and Radiohead. Recording sessions for Hope Renewed began with performances by the quartet, after which layers of electronics, strings, harp, and saxophones were added. She couldn't have hoped for more responsive musicians than guitarist Robbie Melville, bassist Tamara Murphy, and drummer Maddison Carter to round out her ensemble. All three show themselves to be deeply connected to her music, wholly sympathetic to its vision, and selflessly dedicated to serving it. Throughout the album's eight tracks, they treat her compositions with painterly care and sensitivity.

The lyrical quality for which Bartsch's music has come to be known and admired is front and centre in the opening “For the Koalas”; here we also witness the nuance with which the music comes to life and the tastefulness with which the musicians coax it into being. As the material blossoms, particular textures emerge to enhance it, specifically ambient guitar shadings and Mary Doumany's electric harp strums. String textures by violinist Lucy Warren, violist Eunise Cheng, and cellist Rebecca Proietto are also layered in to bolster impact. The music ebbs and flows fluidly through contrasting sections, some restrained and atmospheric, others intense and forceful. After a piano introduction marked by classical elegance, “Brightness in the Hills” similarly opens up through the addition of ambient guitar textures and pizzicato string patterns. Delivered at a slow-motion tempo, the music lilts gracefully, achieving liftoff with a transporting guitar solo before smoothly transitioning back to earth.

The trajectory of many performances mirrors the cautious opening up of post-pandemic life and the feelings of gratitude, appreciation, and liberation that accompanied it. Whereas many pieces are introduced by Bartsch, “Untitled” begins with a lovely acoustic guitar turn by Melville before the others, saxophonist Joseph Lallo included, emerge to flesh out the expanding terrain. As delicate as her music often is, it sometimes moves into heavier territory, as “Over the River” shows in taking the post-rock plunge. Blistering slide guitar and crashing drums contribute to a rendering that might not be Metallica-heavy but is certainly powerful enough. Especially beautiful is “The End of the Decade,” a pensive slow-builder that retains the stirring introspective quality of the original version despite being clothed in different instrumental garb. The album ends, fittingly, with “Hope,” a stately expression by the pianist that's delivered with all the grace one would expect.

May 2023