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  • Review: PETER ROSENDAL / OLD MAN’S KITCHEN Love for Snail 

    Stunt STUCD 14062 / Time: 40:02 

    Peter Rosendal p, wurl, mel, flugabone, Kristian Jørgensen vl, Peter Fuglsang cl, bcl, Peter Jensen tb, Kasper Vadsholt b, Jeppe Gram dm, perc. Recorded 2013/2014 in Copenhagen. 

    I dare say it’s the intelligentsia of the mid generation of Danish jazz gathered in this release: six musicians, all with an equally persuasive expression in the conventional genres of jazz as in the new genre created when notated art music meets improvisation. 

    Pianist Peter Rosendal – an instrumentalist with a divinely delightful, classic touch but also a curious, almost playful sense of more than just the grand piano – has written all of the music. Eight pieces, whose very titles tell us that we are going deep into the fanciful world of musical imagination. And we get there by way of an instrumentation that I think we haven’t heard before: violin, clarinet, trombone, Rosendal’s various key instruments, fretless bass and percussion. 

    Rosendal’s music is intelligent, with a constant humorous twinkle – still it never gets unrestrained or devoid of earnestness. It could be entertaining to list all sorts of possible and impossible influences he may have had – jazz, folk music, new and old art music, film scores – but you end up thinking it’s all deeply original and you come to like it because the intelligent never gets calculated, the fun never gets silly, and despite the tight framework, the soloists get to stretch out so that their performances become more than just vignettes. Rosendal makes plentiful use of Peter Fuglsang’s, Kristian Jørgensen’s and Peter Jensen’s ability to express motivistically meaningful things in very few bars. 

    Fellini would have chosen Peter Rosendal over Nino Rota for his film scores, and Ellington would have chosen him over Billy Strayhorn for Such Sweet Thunder if they were alive today or Rosendal had lived back then. It’s also fair to say that Django Bates finally has a rival for the title of European jazz’ most gifted anarchist. 

    If you like gracious, meaningful musical satire without coarse pastiche, this album is for you. 

    Review: "Orkester Journalen" Sweden, PETER H. LARSEN