Hildegunn Øiseth – Time Is Coming

time is coming(Losen Records)

This came out late last year but it’s certainly worth catching up with. Øiseth is a Norwegian trumpeter and she has “that sound” – there are clear links to Arve Henriksen and Mathias Eick in her marvellously rich tone and almost vocal phrasing. She is one of those players where one can almost hear lyrics as she plays. But she can also cut loose, dirtying her sound when she wants to.

In addition to playing trumpet and flugelhorn, Øiseth also plays the highly evocative goat horn on a couple of tracks, and that earthy, singing sound links her, her band and her music even more strongly into the melodic, folk-tinged style of the album as a whole.

Her band is a quartet with Espen Berg on piano, Mats Eilertsen on bass and Per Oddvar Johansen on drums. It was recorded at Rainbow Studios by Jan Erik Kongshaug last summer.

Hildegunn Øiseth and her band

Hildegunn Øiseth and her band

All the players compose for the band and the album opens with Hildegunn vuelie, a tune from Norwegian yoiker (it’s a kind of chanting associated with the Sami culture) and composer Frode Fjelheim, and it sets the band sound and the mood of the album up perfectly.

Skoddefall, by Berg, presents a melody – Øiseth plays it on flugel – that is so exquisite, and set in a harmonic cushion so enhancing, that it has that rare effect of making the hairs on my neck stand up every single time I hear it. The title track finds the leader on goat horn and again it’s a chill-risking experience, the band really digging in in support.

Eilertsen’s 22 leads from a strong bass solo to a slow, processional melody supported by fine brushwork from Johansen. Savolainen features a really strong piano solo from Berg – clearly another young Norwegian to keep an eye on.

Another excellent release on Losen Records, jammed with great tunes, gorgeous playing and a really strong sense of Øiseth’s personal sound world. Like her stablemate at Losen, Andreas Loren (his District Six is reviewed here), she has spent some time in Africa, and clearly these travels have widened and deepened the emotional and spiritual quality of her music. I heartily recommend this album.



Categories: CD review

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1 reply

  1. she sounds more like a sax than a trumpet, her weird sound is to mask her lack of technique

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