Jeppe Zeeberg: Universal Disappointment
Jeppe Zeeberg

A mere scan of the set-list on Jeppe Zeeberg's fifth album gives a clear indication of the Danish pianist's irreverent mindset. This is a man, after all, whose permanent group (with guitarist Henrik Olsson, electric bassist Casper Nyvang Rask, and drummer Anders Vestergaard) goes by the name The Absolute Pinnacle of Human Achievement. With compositions sporting titles like “Jesus on Bongos” and “Barbara Stanwyck in Double Indemnity,” the expectant listener knows the ride on Universal Disappointment will be, much like earlier Zeeberg outings, scenic and entertaining.

Arriving after 2018's solo set Eight Seemingly Unrelated Pieces of Piano Music, the new collection returns Zeeberg to the ensemble format. Augmented by a shifting lineup of players, the leader (pianos, synthesizer, organ) and Vestergaard (drums, percussion) appear on eight of the nine tracks. Horns, saxes, guitar, basses (electric and double) flesh out the arrangements, with vocalist Anja Tietze Lahrmann added to the closer. The sound is full, rich, and bountiful, the music energized and fast-paced.

Zeeberg contributes field recordings of late-night noises in the big city to “Barbara Stanwyck in Double Indemnity” but otherwise cedes the dirge-like overture to alto saxist Laura Toxværd and trombonist Petter Hängsel. The wackiness begins with “Jesus on Bongos,” a raucous, surf punk-styled romp delivered at a roar by The Absolute Pinnacle of Human Achievement, Vestergaard a high-intensity sparkplug for Olsson's scalding fretwork and Zeeberg's electric piano. Appearing three times in total, the quartet rocks out as viciously on “Svein Rikard” and “The True Fact,” the leader this time working wild organ playing into the performances. It's not uncommon for a slap bass riff or synthesizer stab to punctuate his tunes, with the band's playing briefly interrupted by the interjections.

Old-style swing's the order of the day in “Looks Like Noodles to Me,” which sees the leader rollicking on acoustic piano alongside a wild roller-coaster of horns and drums. As high-energy as much of the album is, Zeeberg does dial down the intensity here and there. “Untitled, England 2016” provides a ballad-styled acoustic meditation midway through the recording, with much of the spotlight given to double bassist Jeppe Skovbakke and a passionate alto turn from Toxværd.

Elsewhere, things turn ebullient and even a little bit soulful for “The Temple of Great Ambivalence,” the horns-drenched performance crowned by rousing piano soloing and an effusive ‘bone contribution from Petter Hängsel. With staccato piano plinks accenting a breezy 6/8 groove and Lahrmann's bright singing, “Directions on What to Do” time-travels to the ‘50s; it remains a recognizable Zeeberg creation, however, when synthesizer flourishes and strangulated guitar riffs accent music that grows increasingly tumultuous as the track advances.

October 2019