Hilmar Jensson

One can only imagine what Hilmar Jensson has done for Iceland’s jazz scene when, in our very own Park Slope, his Tyft trio has created a mélange of free jazz, rock and noise. Meg Nem Sa is an impressive second endeavor by Jensson (guitars, electronics), Andrew D’Angelo (alto sax, bass clarinet) and Jim Black (drums, electronics).
Throughout the record, D’Angelo’s reed instruments swing mellifluously along with Jensson’s guitar riffs, darning the tapestry of Jensson’s languorous minor-key compositions. Black’s pulsing rhythm and steady hand complete the unwieldy ensemble. Jensson’s distorted timbre moves the music toward heavy metal, but D’Angelo’s authoritative voice rides along the ebb and flow, anchoring the compositions between punk rock and free jazz.
The first half is mainly rock-influenced. “International Four” has some room for improv, but for the most part, it is an energetic rock song. The angular composition begins with a wheezing sax and a restrained guitar tuning while an evaporating drum beat conducts. Suddenly, the sax leaps into gear, exploding in the still air. Black peals into a drum solo that seems spontaneous, yet calculated—like an intense skateboarding trick full of complicated jumps and loops. Then, D’Angelo and Jensson jump back in with a minor waltz. The progression from free jazz to rock libretto is at once deliberate and unexpected.
On the other end of the spectrum, the last few songs delve more into noise experimentation. “Bloq” serves as a prelude into this new development: sinister whispers ricochet across hollow cylinders as the song discreetly slides into a new piece, “Sezt Nidur.” Here, D’Angelo’s clarinet voice sifts through the desolate reverberations. Jensson’s torpid lines are just beyond his reach, but by the end of the song, the clarinet loses itself in the bleak confusion.
Jensson, who composed most of the songs on the record, manages seamlessly to weave drums, saxophone and clarinet parts into his tapestry, beginning with the boldness and belligerence of a heavy metal band but eventually moving forward into more introspective territory. Ivana Ng-Allaboutjazz.com

Brooklyn,. N.Y. based Skirl Records’ hip, arts-driven manifestations surge forward with the advent of guitarist Hilmar Jensson’s new trio-led outing. With the band’s second release, an element of surprise becomes tightly integrated within the sum of the parts. Jennson’s grunge-induced, jazz-rock guitar heroics fuse variable genre-busting aspects. Meanwhile saxophonist Andrew D’Angelo and drummer Jim Black carve out a pliable and often-thrusting sequence of patterns.

. The guitarist’s crunch chords and fluid notes drive home a multifarious musical statement, where thrills a minute come to fruition. Whether performing blitzing jazz-centric licks within breakneck speed style heavy metal rock frameworks or delving into asymmetrical free-form romps, the trio generates a mark of distinction. In addition, Jennson’s expansive voicings bespeak a massive wall of sound that compensates for the bass-less format. These cunning artistes reemphasize the inherently adaptable nature of jazz music and how it can provide a window opportunity for the select few that can seamlessly transcend the norm. They aim to excite, entertain and convey a youthful spirit while sustaining a collective identity. – Glenn Astarita-.ejazznews.com

Icelandic guitarist Hilmar Jensson's power trio TYFT opens their Skirl Records debut, Meg Nem Sa, with the audaciously punning “Led Tyftelin.” The trio combines the dark, minor-key aggression of metal and punk with the raucous energy of free jazz.
TYFT contributes a new wrinkle to the passé fusion genre with odd time signatures, heavy funk grooves, rock solid beats, angular melodies and intricate pre-written sections. Whether navigating tricky unison passages or dissonant free-form breakdowns, Jensson and multi-instrumentalist Andrew D'Angelo play with verve and assurance. Driven by the monolithic back beats of Jim Black, the trio is a post-modern chimera, drawing inspiration from a mix of contemporary genres and styles.
A thoroughly modern guitarist, Jensson employs an array of electronic effects, augmenting distortion with octave doubling, phase shifting and myriad other exotic textures. D'Angelo spins circuitous lines with ease, but favors the sort of altissimo skronk of which John Zorn or Briggan Krauss would approve. One of today's finest drummers, Jim Black's subtle variations and inventive contributions to these rollicking rhythms elevate the trio's excursions beyond post-modern dilettantism.
TYFT emulate their indie rock brethren with sincerity and knowing invention on such invigorating fare as “Ain't No Waltz,” “Hilsner” and the title track. Confounding expectations, the album concludes with a selection of ethereal tunes that are as tender and delicate as the preceding excursions are brash and severe.
Indicative of a close-knit scene, playing together in various groups under numerous banners, these musicians share a symbiotic aesthetic outlook. Along with Chris Speed's Yeah No and Jim Black's Alasnoaxis, Hilmar Jensson's TYFT carves its own niche out in the fertile space between rock and jazz.- Troy Collins-Allaboutjazz.com

This is the splendid disc from Icelandic guitar hero Hilmar Jensson and his downtown trio with Andrew D'Angelo on alto sax & bass clarinet and Jim Black on drums & electronics. Tyft blend disparate influences and ideas. "Led Tyftelin" (what a title) actually takes a Led Zep riff and adds some fine alto sax to the that heavy-handed rock groove. Hilmar plays a nasty noisy hard rock guitar solo at the end of this post-rock shit-kicker. Hilmar does a fine job of blurring the line between hard rock and jazz, while still being crafty in the way he arranges these different fragments into a successful whole. Even the freer sections are pretty focused and change as they evolve. "International Four" opens with a section sounds like it was influenced by some chamber jazz, yet the pieces twists and turns through unexpected territories. "Ain't No Waltz" has a tight, quick riff that has some fusion influence, yet without the "show-off your chops" elements that fusion was known for. Hilmar has chosen his two partners wisely since Andrew can rock out and scream on sax when need be and Jim Black always balances his rock and jazz rhythms just right. Since there is no bassist, Hilmar often plays low end riffs, as well as doubling his lines with some device. On "Tumble Bugs", Hilmar gets his guitar to shimmer throughout the entire piece, as Jim and Andrew rock around him. There are a few pieces where the trio lay back and play some quieter sounds. On "Sezt Nidur", Andrew plays some quaint bass clarinet as Hilmar plays some delicate, minimal chords and Jim creates some soft background electronic textures. Tyft do a good job of blurring the lines between the categories of jazz and rock, making them all the more unique. - BLG -Downtownmusicgallery.com

Icelandic guitarist Hilmar Jensson unfortunately continues to be unknown when one thinks of young players of that instrument. That being said, he should be no stranger to those that have followed drummer Jim Black's AlasNoAxis band, Jensson's highest profile gig thus far—despite the fact that he has several dates as a leader under his belt, most of which are on difficult to find Icelandic labels, the strongest being his excellent 1996 debut, Dofinn. His previous Songlines record, Tyft, featured the guitarist in a trio setting that mined abstract/improv modes in collaboration with reedist Andrew D'Angelo and Black. While certainly adventurous, Tyft was disappointing due to its lack of cohesion, despite such a solid cast. With Ditty Blei, Jensson emerges with a new focus both compositionally and technically. It is simply a joy throughout that will keep listeners engaged for its entire 53-minute duration.
As for the group sound, those familiar with the music of AlasNoAxis, Chris Speed's Yeah No ensemble or Human Feel (read: "downtown") should be comfortable with Jensson's approach. Compositionally, the ensemble walks the line between the written and the improvised, made more exciting by Jensson's love of shifting meters, the energized interplay between the musicians and nods to various influences, including rock, folk and improv. The compositions for the most part contain quirky melodies superimposed over offkilter bass/drum vamps or improvised histrionics, all with shades of melancholia.
Personnel-wise, the aforementioned trio is expanded here by including trumpeter Herb Robertson and bassist Trevor Dunn. Robertson is the wildcard and is simply marvelous, consistently demonstrating his brilliance with various sounds (prompting thoughts of "how the hell did he get that out of his horn") and his ability to split hairs with D'Angelo. For instance, his beautifully round tone captivates on "Correct Me If I'm Right" and his mutework induces sparks on "Abbi". D'Angelo, another brilliant musician deserving greater exposure, exalts as well, especially on "Correct Me If I'm Right", with his tortured, squelchy alto sounding like he is extracting every last drop from himself. His bass clarinet also radiates on tracks like the rockish "Letta" or the folkisms of "Grinning".
As one might expect, Black is phenomenal as usual by propelling Jensson's shifting meters and vamps. For instance, he sets many a delectable groove, including the head-bopping variables of "Letta", the intensity of the second part of "Larf" or "Grinning", which sounds like it could be on the next AlasNoAxis record. He also demonstrates his soundplay on the abstractions of the opening sections of "Larf". Yes, he can also be a sensitive player, seen best through the brushwork on the peaceful opening remarks of the multi-part "Davu".
Finally, and perhaps saving the best for last, Jensson is the obvious linchpin, not as a spotlight hog, but rather as a multi-faceted talent. Not the kind of player whose purpose is solely to prove his technical proficiency, he demonstrates that his strength is as a creative improviser and a solid colorist. So, no, there are no shred-fests or blistering legato lines; Jensson eschews such nonsense. Instead, he makes his mark by following his own road, whether strumming peculiar chord rhythms, scraping the stings to add a distinct flavor or creating abstract, disjointed, yet synergized remarks to feed his cohorts. Perhaps his greatest achievements appear on the frantic, chilling soundscapes of "Gobbles" or the prickly frost of "Everything Is Temporary". He also demonstrates more conventional lines on "Davu", as well skilled acoustic thoughts on the album's strongest track, "Correct Me If I'm Right".
Ditty Blei is a superb release that should hopefully bring Jensson more recognition and will surely be a boon for fans of any of the musicians that contribute to his vision. Hopefully, there will be plenty more on the horizon from this collective

Hilmar Jensson might be a jazz guitarist, but he's not necessarily one of jazz's nice guys. His textures, harmonic choices, and rhythms often steer closer to experimental rock and even post-grunge than mainstream post-bop, and you can forget about gauzy chord washes or flirtations with widescreen Americana (isn't it about time to make Icelandia a musical style?). So for those seeking unpredictability in their jazz (and who also prefer music that keeps them awake), here's your man. Ditty Blei is Jensson's second Songlines release, following 2003's crazily diverse Tyft. This new recording sounds "jazzier" than Tyft, due in large degree to the expanded lineup that adds trumpeter Herb Robertson and bassist Trevor Dunn to the core trio of Jensson on guitar, Jim Black on drums, and Andrew D'Angelo on alto sax and bass clarinet. But the lineup is only one element that tilts Ditty Blei further toward jazz. A greater sense of flow also permeates the recording; Jensson has penned music with a seamless feel regardless of its startling contrasts. And there is a bright melodicism present in memorable themes the band almost seems to stumble upon by accident (the opening "Letta"), although even then little dissonances from a broken guitar phrase or ragged horn blurt can often be heard flitting around the edges. If there's an element to be singled out as one of the least jazzy aspects of Ditty Blei, it might be Jensson's skewed sense of rhythm, brought to life by Dunn and the incomparable Black. At least on the evidence so far, Jensson would appear to have a severe allergy to swinging tempos; while forward momentum is important, keeping the listener off-center is a guiding principle. Start tapping your foot and you never lose the sense of pulse, but given all the odd meters you're also in and out of sync with the band from measure to measure. Few groups could navigate this knotty stuff so gracefully. Jensson has also penned material that takes full advantage of this quintet configuration and the highly idiosyncratic styles of the individual musicians -- which means there are plenty of opportunities for Robertson and D'Angelo to cut loose with their deliriously over-the-top approaches to vocalizing through their horns ("Grinning," "Gobbles"). Unlike some of the more relentless free jazz exercises, however, Jensson knows these top-shelf improvisers have a deep capacity for lyricism, so he provides them with opportunities to display that talent as well, as on the folkish "Correct Me if I'm Right" and the understated conclusion of "Grinning." These tracks feature some of the leader's finest work on acoustic guitar, proving that he can be a nice guy if he puts his mind to it. [Ditty Blei is another Songlines showcase for Super Audio Direct Stream Digital technology, developed for those who find that conventional CDs just don't sound good enough, dammit.]

Icelandic guitarist Hilmar Jensson is back. This time it’s personal.
Sorry, I’ve been watching movie trailers again. Anyway, this one is in motion just the same. Jensson follows up his 2002 disc Tyft with his unique extended guitar antics on Ditty Blei. Where his previous outing favored improvisation over melody, this disc showcases a bit more structure and groove. Jensson adds bassist Trevor Dunn and trumpeter Herb Robertson to his Tyft lineup of Andrew D’Angelo and Jim Black and features his compositional skills. Like his work in Jim Black’s AlasNoAxis, Jensson’s playing will never be confused with the usual jazz guitar. He simply refuses to allow anyone to pigeonhole his playing. He does, however, write jazz songs—not “I’ve Got You Under My Skin” so much as “He’s Got Himself Under My Skin.” Jensson prefers the prepared guitar with screws, fans, sticks, and bows to Django’s burnt finger playing. And while his band mates play “straight,” these aren’t exactly the kind of musicians who are stuck “in the tradition.” Jim Black runs with fellow new thing players Tim Berne, Chris Speed, and Satoko Fujii. Andrew D’Angelo sometimes plays his horn while laying on his back for Matt Wilson, and Trevor Dunn has rocked out with Mr. Bungle and kept time for John Zorn and Junk Genius. Trumpeter Herb Robertson, a journeyman free jazz trumpeter, plays well with Tim Berne and of late with the Italian jazz avant garde. Fans of Tim Berne’s projects will enjoy this date. Jensson favors odd meters and a bit of noise. And while D’Angelo and Robertson can take you out, they are also disciplined musicians. On “Everything Is Temporary,” the airy opening gives way to a progressive march by Jensson’s band. His blues guitar turns into an extended effects machine that is easily consumed. This is not a relaxed affair. Jensson employs Jim Black to keep things a bit off-kilter. The rocked out lines of “Mayla Mayla” are spun around Robertson's echoed trumpet and D’Angelo’s blurting optimism. When he picks up his acoustic guitar, Jensson reels in the effects for a bit of beauty. “Correct Me If I’m Right” captures a bit of Americana; the short “Davu” is also a simple chamber piece of beauty. Jensson mixes the harsh with the elegant for another valued outing.

HILMAR JENSSON - ditty blei (Songlines 1547) Featuring Herb Robertson on trumpet, Andrew D'Angelo on alto sax & bass clarinet, Hilmar Jensson on guitars & compositions, Trevor Dunn on acoustic bass and Jim Black on drums. This is Icelandic guitar hero Hilmar's second great release for Songlines and it features his swell all-star quintet, where each member is also a bandleader, busy collaborator and composer as well. Hilmar expands his fine bass-less trio from last year into a quintet and expands his palette as well."Letta" has that fractured rock groove that Jim Black's cds often include. Both Andrew's bass clarinet & alto sax and Herb's trumpet take swell nervous twisted solos, as the bent guitar, bass and drums dance around them with tight abandon."Larf" begins more freely, but soon gets back to a great rockin' groove with an infectious melody. Hilmar's great fractured guitar solo is orchestrated with Jim's equally fractured drumming - perfectly matched. I dig the way the guitar, alto and trumpet swirl around one another on "Mayla Mayla", and connect on the chorus. Hilmar takes a great solo made more from just sounds and not really notes, a most modern approach.Ê Hilmar plays some fine acoustic guitar on "Correct me if I'm right" which a righteous laid back and sunny melody, some of the loveliest and most soulful playing we'll (ever?) hear from Andrew and Herb. The unstoppable Herb Robertson squeezes out one of those grand, loopy yet explosive muted solos that he is a master of on "Abbi"."Grinning" is another twisted rocker with some great shimmering guitar and joyous horns that just keep ringing in my head long after the song is over. It feels great when the quintet finally explodes on "Gobbles", with short sick solos from the frontline."Everything is temporary" sound again one of those great slow motion rockers from the last Jim Black gem, with another great tortured guitar solo from Hilmar and sly, spirited horn harmonies. Immensely tasty and quietly riveting. This is another Songlines hybrid/multi-channel SA-CD which will play on any cd player.

Classic but free
Jazz
Hilmar Jensson Quintet: Ditty Blei - Vernhardur Linnet
Morgunbladid

There is no doubt in my mind that Hilmar Jensson's newest CD; Ditty Blei, is probably the best jazzalbum ever recorded by an Icelander and even if his fellow musicians are all american the album is still icelandic. All the compositions are by Hilmar, he chose the members of the group and conducted the ensamble and country borders are vague in music, fortunately. The name of the CD, as of most of the compositions are derived from his sons. Unnar was 18 months old when Hilmar was composing and he often had to "Ditty Blei". That should be easily understood by Icelanders but perhaps not as easily in other countries- the CD is released by the Canadian label Songlines.
Andrew D'Angelo and Jim Black are well known in Iceland after havong visited a great number of times but trumpet player Herb Robertson and bassist Trevor Dunn have not played here before the groups concert at the Reykjavik Jazzfestival in November.
On this CD the five musicians blend togeather as well as the boys in King Olivers creole band from 1923 -and that is just as well since the collective improvisations that is the earliest form of jazz-improvisation is very prominent on this CD. The music goes back and forth from heavily composed sections, often beautiful melodies from Hilmar's pen as well as focused improvisations and collective improvisations. This has long been the trademark of "white" avant-jazz, unlike what we heard when Coleman and Coltrane used collective improvisations on "Free Jazz" and "Ascension".
Another thing that I find prominent in this music is some resemblense to the music that Charlie Haden wrote for his Liberation orchestra and that has nothing to do with the fact that Herb Robertson has played in that group. The begining of "Letta" and the last part of "Grinning" when the Ornette-vibe is over, and finaly the horns behind Hilmar's exceptionally hypnitic guitarsolo on "Everything is temporary" reminds of Hadens Liberation-poems.
Herb Robertson is the soloist that captured me the most. His tone is amazing, often so broad and meaty that it recalls Bill Dixon, one of the early figures of free jazz, who is forgotten by most. Sometimes, like in "Abbi" Clark Terry comes to mind and sometimes Don Cherry or the roaring Ellingtonians. The are simpy words of praise for an exceptionally gifted brass player who has created his own style. Andrew's playing blends well with Herb's the sax is often roering and fierce like in "Letta" or screaming and strong in it's simpicity like in "Correct me if I'm right". Jim Black and Trevor Dunn play like peron and on "Davu" Jims brushes create a strong groove behind Herb's dark solo, supported by a riff-like comping.
The interplay is the strength of Hilmar's quintet and if someone still has the misconception that Hilmar's music is inaccsessable should get a copy of Ditty Blei

Featured Artist: Hilmar Jensson
CD Title: Tyft
Year: 2002
Record Label: Songlines
Icelandic guitarist Hilmar Jensson plays electric and acoustic guitars and electronics masterfully on Tyft. Abetted by Jim Black (drums, melodica, electronics and virtual instruments) and Andrew D’Angelo (alto sax, bass clarinet and electronics), this improvised set is wholly hypnotic and atmospheric, “art” at it’s most proficient and pointed best. The trio mesh sounds, ideas, patchworks of squeaks and squawks, buzzes, and percussive explosions exquisitely. There are elements of Albert Ayler and Sonny Sharrock in the mix, though Jensson is original and derivations may be hard to pinpoint, particularly in his acoustic work. Tension-and-release is thematic here with a series of quick pastiches (“Three Oily Tuesdays” is 1:21 and “Yolanda” clocks in at under a minute) woven among the more adventurous and extended pieces, such as the 8-minute plus “Uncle Fishhook,” that opens so quiet as to cause a check to be certain the disc is in and builds to a very slow crescendo. Excellent.
Reviewed by: Mark E. Gallo

Reviews
All Music Guide
Less is more when it comes to Tyft, particularly if the trio heard here is considered part of the Human Feel family tree. Saxophonist Andrew D'Angelo and drummer Jim Black were both in that group, which started in Boston with a somewhat traditional jazz quintet lineup before moving to New York during the '90s and continuing without a bassist. The four members of Human Feel turned this new configuration to their advantage, using the space vacated by the bass as an empty canvas on which their own contributions seemed all the more bold and punchy. Icelandic guitarist Hilmar Jensson , a present-day Black collaborator who hung with the Human Feel boys during his Berklee days, now seemingly carries Human Feel's model of shrinkage even further, and with similarly punched-up results, by eliminating one of the reed voices. But Jensson hasn't merely come up with an even smaller Human Feel. First, that was a collaborative ensemble and this is very much Jensson's project. And as a player, Jensson is emphatically not Kurt Rosenwinkel , Human Feel's guitarist. The man from Reykjavik seems less inclined to pursue a "jazz" direction, as his jagged electric guitar power chords vie for attention with intimate acoustic interludes and experimental noise, sometimes all in the same track. Tyft can be a jittery listen, with Black's concussive drums and D'Angelo's alto squeals brashly inserted amidst quieter, even austere segments suggesting an Icelandic take on the ECM school. And since all three musicians here are card-carrying members of the laptop generation, even the tundra jazz portions have a disquieting aspect: Electronic hums, buzzes, rattles, and undefinable sounds intrude upon the calm, as if to suggest that there is nowhere left even to strum an acoustic guitar in peace these days. (Intrusiveness is taken to a really personal level in the reading of "family correspondence" by one Israel Fish during "Indelable Scars.") At 46 minutes, Tyft is a bit short by today's standards, but the CD's varied moods give it the feel of a mini-epic. Less is more indeed. ~ Dave Lynch, All Music Guide

HILMAR JENSSON/ANDREW D'ANGELO/JIM BLACK - Tyft (Songlines 1542)
Hilmar is that fabulous Icelandic guitarist that plays in the
ever-popular Jim Black Alasnoaxis unit. Andrew D'Angelo plays
consistently inspired alto sax and bass clarinet, once for Human
Feel, Matt Wilson and more recently in that great duo with Jaime
Fennelly. Jim Black remains one downtown's most in demand and
dynamic drummers, from Bloodcount, to Tiny Bell Trio to Laurie
Anderson to that superb longtime trio with Ellery Eskelin & Andrea
Parkins. This is Hilmar's debut cd in the US after a few
hard-to-find imports. All three members of this trio double on
electronics. This is a rambunctious trio that often erupts freely,
yet sails through tight charted areas as well. "Short or Hairy"
moves through a variety of twisted sections, some quick and abrupt,
some fractured blues licks and completely tight and focused. Hilmar
plays some eloquent acoustic solo guitar on a few on these pieces.
The trio does a fine job of adding eerie electronics to some of the
suspenseful pieces, blending electric ghost-like sounds to squeaky
reeds, melodica and percussion. Hilmar seems to coax a lot of quirky
sounds from his guitars, making it difficult to figure out who is
doing what. Like Alasnoaxis, this trio create a variety of moods,
each one filled with different soundtrack like images, from somber to
more agitated, fascinating throughout.
Downtown Music Gallery

On Dofinn, Hilmar shows what an exceptional musician and unique guitarist he is.
I must congratulate him for this contribution to the Icelandic jazz spectrum.
Arsaell Masson DV

Hilmar is an incredible guitarist, however you look at it, chordal playing, improvisation or “effects” are a breeze. The result was extremely interesting music that kept me captivated the whole performance.
A.M - DV

On the program was Kerfill, a 40-minute suite by Hilmar Jensson. This is a very powerful piece; a wall of sound at times but then something reminiscent of Ornette’s Lonely Woman emerges. The six musicians played brilliantly, apparently in great shape after having just been in the studio to record the suite and maybe it’s best to wait until the CD is released to review the music. One thing is for certain though, if the improvisation is as good and the interplay between Andrew, Oskar, Eythor and Hilmar and the rhythmical power that Bryndis and Matthias worked up together with Hilmar and Eythor as mesmerizing, as at “Kaffileikhusid” then we can expect one of the very best Nordic free jazz CD's in a very long time.
V.L –Morgunbladid

Together with Hilmar were some of the leading players of modern free jazz, Jim Black on drums 'sand saxophone players Chris Speed and Tim Berne, who is perhaps the best known of them……….. They are all exceptional musicians and Jim Black drumming for instance was incredibly emotional and intertwined with the others. All unison melodies were played with unbelievable precision and many great solos, especially by Hilmar. It is a great catch for Icelandic jazz to have these musicians play for us with Hilmar displaying his musical vision through his compositions, which made up the bulk of the program.
A.M - Dagbladid Visir

Kerfill is a milestone in Icelandic jazz. After the release of this record no one can have any doubts that Icelandic jazz composition is of the same caliber as Icelandic “classical” composing.
V.L – Morgunbladid

A distinctive aspect of this concert was the virtuosity of the musicians. All three seem to have explored the possibilities of their instrument to the fullest. Chris Speed playingon saxophone and clarinet was perhaps the most traditional but he was equally adept on both. He covered the range from lyricism to free playing, soft sounds and harsh ones, calm and melodic lines together with technically difficult runs that surprised the audience but always gained admiration. The guitarist, Hilmar Jensson, has complete control over the many and varied possibilities of his instruments. At the concert he often used unorthodox ways to produce sounds as well as traditional approaches to his instrument. This he did with great care and good taste and showed how well he has mastered his musical language.
Jim Black used his percussion with great inventiveness and produced not only rhythms from his drums and cymbals but some very powerful sounds of various kinds. His playing was never overpowering or too aggressive but, like everything at this concert, very musical and always serving the music equally in his solos as in the collective playing.
H.A – Dagur

Hilmar JENSSON 'Kjar' / 'Traust' / 'Kerfill' collaborative CDs (SMJ/ Smekkleysa)
SMJ is an imprint set up by Iceland's Smekkleysa label to highlight electronic, noise and improvised music from that Island. Hilmar Jensson is a 'modernist' jazz musician as well as co-founder of the Kitchen Motors label (see review elsewhere of his 'Motorlab 1' release) and three of the first four releases on SMJ are by him.
Improvised music is always a challenge to get into, and requires much concentration, but beyond the intellectualism is a side that is much lighter. Good improvised music should be relaxing to listen to. It should not be there to consistently beat you over the head with atonal gymnastics.
Fortunately, Jensson's collaborative efforts do work as albums that entertain as well as provoke ideas about music. What characterises all three releases is Jensson's appreciation of space. His works consists of movement of structured notes and the spaces between them filled with secondary movements that instigate intriguing levels of tension and counterpoint. 'Kjar' is an electronic work with Skuli Sverrisson and finds drones coloured by pin point signals and glitches. Though an abstracted work it really isn't far removed from 'Traust'. This time similar tensions and exploitation of space is conducted on a loose jazz framework relying on percussive touches and outreaching piano lines from Kjartan Valdemarsson, Mattias Hemstock and Petur Gretarsson. The beauty lies in the witty exchanges between instruments. The brash freedom of these pieces are pushed further on the single forty minute 'Kerfill' Again the piano leads the way, giving ideas to the rest of the instruments most notably Jensson on guitar. What sounds like a disjointed beginning soon congeals into an explosive tour de force of joyous playing. By the end, you wonder what made them stop.
To listen to Jensson across the three albums makes sense of his work, but anyone one listening to one album without knowledge of the others will still appreciate the artiste's celebration of truly free music unlimited by boundaries though limited only by the chosen language of modern jazz.
8/10

MOTORLAB # 1 (CD compilation by Kitchen Motors)
One of the good things about Iceland is that everyone plays in a band or
does other forms of art. Kitchen Motors is an organization whose interest
lies in doing events, such as Motorlab. The idea is to have various artists,
not just sound, but also film and spoken word, work together and present
the outcome. .........
Then we get Hilmar Jensson, Ulfar Haraldsson, Johan Johannsson and The
Caput Ensemble, performing a piece for processed guitar, electronics and a
10 piece ensemble. Beautiful gliding tones set against laptop crackles - not
unlike the Dean Roberts CD on Ritornell. For me this could have lasted an
hour instead of 12 minutes. ......Interesting document of an unique event.

Kitchen Motors's Nart Nibbles and Motorlab collections
by Dave Heaton
The climb that Sigur Ròs is deservedly making towards international prominence has brought a great deal of focus to other Icelandic musicians. Some of that spotlight is shining on the avant garde Kitchen Motors label, and it also deserves it, as evidenced on a handful of recent compilation albums showcasing gatherings organized by the label. The two-CD Nart Nibbles set, Motorlab #1 and Motorlab #2, all distributed in North America by Bubblecore, have brought the experimental side of Iceland to the rest of the world; each collection includes a varied batch of musicians combing their brains for new ideas and then trying them out in a live setting.
Nart Nibbles is subtitled "Experiments in Reykjavik," and documents exactly that. Kitchen Motors began as an organization promoting concerts and other artistic performances, all, as they've put it, "based on the ideals of experimentation and collaboration and the search for new art forms" (as quoted in the recent feature article in The Wire). Nart Nibbles is the first CD compilation from Kitchen Motors--it includes DAT recordings of various performances that they organized. ....... The rest of the CD includes a beautifully spooky piece for prepared guitar and lapsteel by Petur Hallgrimsson and Hilmar Jensson, where they make guitars sound like everything from the wind to underwater vibraphones.....................

Nart Nibbles II includes just two tracks, but one of them is a monster. Helvitis Symphony no. 1, the first in a series of similar pieces for different instruments, has four guitarists playing off of each other, then joining with nine more guitarists, one at a time, until you have a mass of guitar frenzy. Don't let "frenzy" confuse you, though; this isn't 13 guitarists wildly playing rock riffs until all you hear is noise. Each takes a mannered approach that shows his or her own personality. The piece is at turns delicate, hushed and, yes, wild, but it never sounds like a mess. It's an intriguing experiment all the way through.
The two Motorlab CDs capture performances from Kitchen Motors' Motorlab events, where musicians come together each month for different experimental adventures................

other tracks on this CD are similarly centered first on ideas. On "Veltipùnktur," Hilmar Jensson, Ulfar Haraldsson and the CAPUT Ensemble created a work based on the idea of "playing with very delicate microtonal pitch blends…(with) the wind and string and guitar parts fluctuating very slowly in and out of tune with each other." It sounds like the wind, essentially, in a slow but soaring swoosh of sound.............................

All of these Kitchen Motors CDs made their way to North America in a short period of time, early this year. Yet they're filled with enough unique creations to give the impression that there's a lot more where this came from. And the more that's released the better, I say. The musical experiments recorded on these collections combine intellectual and scientific ideas about what combinations might lead to a new sound with gifted musicians ready for anything. Being at these events and witnessing them would be a wholly different and wonderful experience, I am sure, but listening to the music without seeing what the musicians themselves are doing keeps you equally attentive and is just as rewarding. The experience of listening is both a mental one--figuring out what they're trying to accomplish and where it's going---and a visceral, sensual one, where you feel each sound in your body and see how it affects you.

Various Artists
Motorlab #1
kitchen motors (Iceland)

The four-song disc Motorlab #1 recorded live at various venues in Revkjavik, Iceland last year is an experiment in making sound into music. The music recorded live at Motorlab with the concept to commission works and initiating collaborations between artists from different disciplines to mix a bold cocktail of odd elements so audience can drink in a feeling of tipsiness without getting inebriated................ The second song by Hilmar Jensson and Ulfar Haraldsson titled "Veltipunktur" uses guitar, electronics and a 10-piece chamber ensemble. In a type of controlled improvisation as a focus the sounds mixes well with wind and string parts moving in and out of tune in slow rhythm.........................Motorlab #1 could serve as a tool for meditation and hypnotherapy if you close your eyes and allow the sounds to transform into music dancing to the colors of the mind. Listen and enjoy the escape.
-Amelia Feathers