Anders JorminXieyiReview

Its true to say that the solo bass recording is perhaps an acquired taste, though since the first such beast emerged in 1968 (courtesy of Barre Phillips) there have been a slew of fine albums by great players. ECM have been responsible for a few themselves; Dave Hollands Emerald Tears, Barre Phillips' Call Me When You Get There are both classics of the genre, and now this offering from Anders Jormin looks set to join the ranks. Jormin has made a name for himself over the past few years as bassist in pianist Bobo Stenson's trio as a sensitive and articulate player, and Xieyi showcases his considerable talent beautifully.

Eschewing for the most part the extended technique that some bassists rely on to get them through a whole album, Jormin instead relies on a perfectly honed melodic sense and an impassioned, lyrical approach to solo bass language that relies as much on folk and classical influence as it does on jazz. His technique, though impressive, is never allowed to grandstand and is completely at the service of the music (though there are occasions when the listener is led to wonder exactly how many hands he posesses). The mood is (as you might expect) pretty introspective. Drawing on material from sources as diverse as Sibelius and Ornette Coleman, Jormin's luxurious tone ranges from the rich, singing resonance of Charlie Haden to the punchy, guitaristic articulation of Gary Peacock, but he sounds like neither player. The material here is well chosen; Sibelius's "Hymn 433" is an achingly gorgeous rumination on the Finnish composer's folkish melody which allows Jormin ample space to wander. Evert Taube's "Fragancia" is similarly lovely, coaxing a performance of simple, quiet beauty that Haden would be proud of.

Violetta Parra's "Gracias de la Vida" and Ornette's "War Orphans" are played with the bow; here Jormins incredibly controlled use of false harmonics gives the bass a hauntingly vocal quality. Dotted throughout the album are miniatures Jormin composed for brass quartet at producer Manfred Eicher's suggestion (perhaps he was worried about commercial potential...) Though not unpleasant, they act more as distraction than anything else; its the warm, dark song of Jormin's bass thats at the heart of this impressive and rewarding release.