Search - Tomasz Stanko, Alexi Tuomarila, Jacob Bro :: Dark Eyes

HESITANT - SUBDUED

Steve Wyzard | Lomita, CA | 04/29/2010

(4 out of 5 stars)

"Inevitably, this album will be compared to Stanko's three preceding albums for ECM, Soul of Things (2002), Suspended Night (2004), and Lontano (2006). The Polish quartet has been replaced with a Scandanavian quintet, and while the Stanko sound remains the same and there are similar tonal textures, Dark Eyes is also something very different. Most significantly, the addition of electric guitar and electric bass produce a fuller, more modern, even urban soundscape. Where some will recognize a natural progression from the experimental Lontano, surely others will lament the loss of the classic quartet atmosphere. Dark Eyes is a shorter album (61:44) than the quartet albums, and with a variety of moods will take some time to come to grips with. This is definitely not an avant-garde side-street, but it's also not an accessible "start here" recording.



The album begins with the pace-setting, scratchy-toned "So nice". It's unusual, after the three preceding albums, to hear a guitar backing Stanko. Jakob Bro plays moodily and unobtrusively throughout. When he takes a solo, one might think of "Wes Montgomery meets Bill Frisell without the effects". The thunderous drumming of Olavi Louhivuori and the rumbling bass of Anders Christensen are the highlights of "Terminal 7". Many of the songs begin hesitantly, such as "Amsterdam Avenue", "Samba Nova", and "Grand Central", which stops completely before resuming. Pianist Alexi Tuomarila takes his best solos on these three songs. The album closes with the improvisational "Last Song" and the poignant "Etiuda Baletowa No.3".



Special mention must be made of the following stand-outs: "The Dark Eyes of Martha Hirsch" is this album's instant classic, beginning as a dirge before Stanko finally launches into his wildest solo on the album. Over tolling piano chords and splashing cymbals, Stanko wails and Bro plays an airy solo on "Dirge for Europe". The ethereal "May Sun" does without Stanko entirely: a simple piece for guitar and piano, reminiscent of a Chick Corea "Children's Song".



While risks are taken, Dark Eyes is an overwhelmingly subdued album. The melancholy ECM sound is ever-present and will no doubt repay repeated listening. How this album will be viewed among the complete Stanko oeuvre remains to be seen. And lest any doubt be raised, the greatest trumpet with electric guitar albums remain Miles Davis' In a Silent Way (John McLaughlin), and Enrico Rava's The Plot (John Abercrombie)."

Starkly Beautiful

Kurt Harding | Boerne TX | 04/12/2010

(4 out of 5 stars)

"One thing is sure, you never know what you are going to hear when you put on a Tomasz Stanko album. With his new group of Scandinavian jazz men, Stanko offers up a new chapter of minimalist music for the discerning listener.

Though I find Dark Eyes to be profoundly relaxing, when listening I notice that all of the strongest pieces are in the first part of the album. So Nice opens this strongly and fills the air with the promise of great things to come. And they do soon enough, for in my opinion Terminal 7 is the finest cut. The percussion is delicate and exquisite while the guitar at times may remind the listener of the work of Gabor Szabo. A couple of other winners are the multi-faceted Grand Central and the sizzling Samba Nova. Those who enjoy a lengthier, more exploratory piece should enjoy The Dark Eyes of Martha Hirsch. And although they are enjoyable, the two Krzysztof Komeda pieces not previously covered by Stanko add nothing to his legend.

As with other ECM releases and as befits the minimalist nature of the music, the attractive booklet that accompanies this CD features a few pictures and a bare minimum of album info. Even though Stanko has made a few changes in musical direction with Dark Eyes, long-time fans will find a lot to like. It has certainly proven to be a worthy addition to my CD collection."

New quintet is Excellent!!

C. Whitby | 04/12/2010

(5 out of 5 stars)

"This release features Stanko's current group recorded April 09. The quintet turned in a wonderful set last night in San Francisco the day after Poland's air tragedy. (I had reservations about this new young band, considering the strength of Wasileski/Kurkiewics and Miskiewics on Stanko's last 3 efforts- (Soul of Things, Suspended Night, Lontano), but the new band is wonderful. The addition Jacob Bro on reserved guitar adds a lot to the sound of this album. The cuts are shorter, but very cohesive and well programmed. In all of Stanko's releases there are always a few real standouts, for me this record flows beautifully as a complete work. The Samba cut really works for me as the drummer really swings it. I have about 6 of Stanko's releases, and all are great, but this may very well be my strong favorite. Sometimes I need my Kermit Ruffins, sometimes I need the reflective, emotive European trumpet such as Stanko. The addition of Jacob Bro on guitar may further the usual comparisons to 1969's Miles Davis' "In a Silent Way" period, as there is some John McLaughlin inspired nuance but the comparison can only be used to broaden the discussion, as Stanko's compositions and execution stand brilliantly alone in the Jazz world. Best of year contender."