About eighteen months ago I was contacted by Jeff Henderson. He suggested, that I might be interested in a gig featuring two great Norwegian musicians who were passing through. I certainly was. The musicians were John Pal Inderberg and Hakon Mjaset Johansen. I was particularly interested because the baritone saxophonist John Pal Inderberg is associated with Lee Konitz and the late Warne Marsh. I make no bones about it, I am an unapologetic devotee of the Tristanoites. During that particular visit, the duo played a number of Scandinavian folk tunes and in their hands, these became melodic springboards for improvisation and a cloak for standards (with local bassist Eamon Edmundson-Wells). The Nordic region has a rich history of improvised music and it is therefore unsurprising that so many innovative US improvisers have ended up living and working there. With artists of this quality to work with why wouldn’t they? Inderberg and his band are great ambassadors.
Last week, John Pal Inderberg returned to New Zealand, but this time with his trio. Accompanying Inderberg was bass player Trygve Waldemar Fiske, and again, Johansen on drums. The gig was superb from start to finish and Inderberg’s trademark humour constantly delighted the audience. What we heard were new-sounding tunes, but inside these were older tunes, and in turn, many of the latter emanating from even older standards. These multilayered ‘reharmonisations’ are the bread and butter of skilled Jazz musicians and especially the Tristanoites. A beautifully modal folk tune became Cole Porter’s ‘You’d Be So Nice To Come Home To’ but with reharmonised Konitz lines adding to the sonic puzzle. The nearest thing to a straight ahead Jazz standard, and played as written, was their beautifully respectful rendition of the popular Benny Golson classic ‘Whisper Not’.
It was a night of extraordinary musicianship with the players communicating at the highest level. Inderberg is a master saxophonist and his baritone has a tonal quality few could emulate. A number of saxophonists play the ‘Bari’ as a doubling instrument but few make it their primary. In Inderberg’s hands, the mighty beast appeared to float. I recall noticing the same thing when watching a film of Gerry Mulligan, the weighty horn somehow defying gravity and as if imbued with a weightless quality. This lightness of being is, of course, an illusion. One bolstered by the nimble lines and airy tone. Every so often Inderberg would recite in Norwegian. Norwegian in triple-time, elevating the strangely accented utterances into an unusual form of ‘scat’. The other two, playing straight-men, would roll their eyes. Occasionally, and effectively, the trio would also sing an introduction; softly and movingly. This was a well-rounded show; free flowing but enjoyable from start to finish.
The bass and drums in a cordless setting are exposed and naked. Fiske and Johansen are great musicians and they demonstrated just how to meet that challenge. This was a master class in how to create a rich tapestry with a handful of well-chosen threads. Beautifully melodic bass lines with innovative solos and at times, singing arco bass. While the drumming was melodic, it was also orchestral; reaching across the entire spectrum of Jazz drumming and without once resorting to cliche (watch the clip). A Trio without a chordal instrument is not the norm, but they do hold a special place in Jazz. It’s about freedom and unencumbered melodic lines. It’s also about the interactions and of course, counterpoint.
There is an ideological synergy between Norway and New Zealand and long may such cultural exchanges continue. Norway is almost an antipodes away, but I sincerely hope the Inderberg Trio returns. This visit, like the last, was a rare treat.