Ingebrigt Håker Flaten & Paal Nilssen-Love

Best described with a term Norwegian drummer Paal Nilssen-Love would favor Guts & Skin is a Free Jazz clusterfuck. In spite of the coarse language, the seven-part session is also exceptional because it offers a mélange of talents from eight international improvisers. Even more so than usual the base of Guts & Strings is the pulse propelled by Norwegian bassist Ingebrigt Håker Flaten. This is especially noticeable when he uses the electric model to create an R&B-like groove.

Besides the co-leaders, three of the other plays are Scandinavian; trumpeter Magnus Bro, alto saxophonist Signe Emmeluth and percussionist Johan Holmegaard; while three are outliers; Belgian baritone saxophonist Hanne De Backer; French clarinetist/vocalist Isabelle Duthoit and UK keyboardist Alexander Hawkins. Although featuring a smaller cast than Ascension or Machine Gun, Guts & Skin still starts off almost replicating the ecstatic-jazz gestalt which characterized those breakthrough sessions. Percussion is thrashed, piano key are slapped, bugling trumpet runs flutter and reeds snarl and honk. But with a disregard for genre by “Part 2” bites and pecks from the horns harmonize into vamps as the exposition moves forward with Hawkins’ organ swells and Håker Flaten’s systematic thumps prominent. When percussionists’ measured beats join the exposition, results turn towards 1970s soul.
Hawkins’ introduction of dynamic piano runs coupled with the reeds spewing staccato peeps reestablishes free form ascendancy, which also reasserts the swing pulse, especially when joined by focused drum rhythms and conga drum-like pats. But yet another twist breaks up the linear evolution as Duthoit’s vocalized cackles, squeaks, yelps, gurgles and Gallic mumbles set up contrapuntal textures, vie for supremacy with the instrumental sounds. Mixing motifs, many flash by in turn on the final two sequences as clarion reed puffs are heard as often as tremolo organ smears, throbbing bass lines and vocalized pants and yelps. Reaching maximum dynamics, a climax vibrates in the concluding minutes alongside sound shards of instrumental and vocal timbral deconstruction at varied pitches. Before the final full band crescendo, post-modern tonal asides have been and integrated into the program. Håker Flaten’s and Nilssen-Love’s created music has been effectively realized and more by the octet members.

–Ken Waxman

Track Listing: 1. Part 1. 2. Part 2 3. Part 3 4. Part 4 5. Part 5 6. Part 6 7. Part 7

Personnel: Magnus Broo (trumpet); Signe Emmeluth (alto saxophone); Hanne De Backer (baritone saxophone); Isabelle Duthoit (vocal, Bb clarinet); Alexander Hawkins (piano, Hammond B3 organ); Ingebrigt Håker Flaten (bass, electric bass); Johan Holmegaard (percussion); Paal Nilssen-Love (drums, percussion, Paiste gongs)