Kjetil Mulelid: Agoja
Odin Records

Norwegian pianist Kjetil Mulelid continues to forge new paths for himself, his latest recording a set of original compositions breathed into being by distinguished colleagues such as trumpeter Arve Henriksen, tenor saxophonist Trygve Seim, vibraphonist Sasha Berliner, and pedal steel player Lars Horntveth. The range of timbres they and others contribute to the release does much to make it as arresting as it is. Mulelid has presented himself in multiple contexts to date, from the acclaimed quartet Wako and his own piano trio to his duo with vocalist Siril Malmedal Hauge and as a solo pianist, but Agoja—the first approximate word uttered by his newborn son—feels like another significant step in Mulelid's artistic development.

While a ruminative solo piano piece, “Slightly Closer, Soon,” does appear, much of Agoja cedes the spotlight to Mulelid's guests—the sound of someone happy to showcase their superb talents and content to embroider the performances with his always sensitive voicings. Rich as it is in engaging folk-inflected melodies, the material he crafted provides an excellent springboard for their expressions. The eight pieces that crystallized after the musicians gathered in an Oslo studio over three days in December 2022 very much reflect the sensibility of their creator, even when there are pronounced differences in tone. The core unit comprises the leader (who augments piano with Wurlitzer, Rhodes, and synthesizers), Horntveth, bassist Bárður Reinert Poulsen, and drummer Andreas Winther, with different combinations of others establishing contrast from one piece to the next. Mulelid guides with a gentle hand and wisely lets his colleagues stamp their personalities on the performances.

Impressions of nostalgia and melancholy are evoked by material that's in places hymn-like and infused with communal feeling. Whereas the writing is generally emblematic of Mulelid's style, “A Prayer for Peace” could pass for a Charlie Haden composition, the kind of rubato plea he might have contributed to the Liberation Music Orchestra, the ensemble he co-led with Carla Bley. That's especially the case when the wailing of alto saxist Signe Emmeluth and tenor saxist Trygve Seim recalls the sound of firebreathers Gato Barbieri and Dewey Redman on the LMO's self-titled 1970 debut.

The opening “Alone” has to be one of the best things Mulelid's written. Animated by the almost subliminal pulsation of a recurring bass arpeggio, the graceful tune offers Henriksen a beautiful springboard for his instantly recognizable trumpet. The allure of its breathy purr is enhanced by its coupling with the violin of Selma French and the tenor sax of Mulelid's Wako colleague Martin Myhre Olsen. Melodic figures dramatically rise and fall as the piece advances, with a couple of breakdowns materializing to temporarily arrest the propulsion. As Henriksen solos, the warm twang of Horntveth's pedal steel emerges, much as it does throughout the album. “Song for Eliah” is warmed too, though this time by electric piano, the wistful folk ambiance of the setting, and the radiant horns of Seim and trumpeter Mathias Eick. Wholly different in attack and tone from Henriksen, trumpeter Lyder Øvreås Røed partners with the leader's piano on the pensive duet “Chapter, Ø.”

May 2024