This is the third album from Sydney-based Elysian Fields, an ensemble that gives the term ‘fusion band’ a whole new, and somewhat indefinable, dimension. In their music, you can hear a world of baroque, jazz, modern classical, and folk influences, all centred by a remarkable instrument – the electric viola da gamba. That instrument is played by the band’s leader Jenny Eriksson, who is Australia’s only electric viola da gambist. For this album, she decided to explore instrumental combinations outside the regular sextet format of the band, so that the music as a whole would have a chamber music-like resonance.
There are 10 compositions across 19 tracks, each composition featuring a different combinations of musicians. The album opens with ‘The Acceptance’, and features violin, alto clarinet, electric viola da gamba, piano, double bass, and the captivating voice of Susie Bishop. It’s a musical welcome to country composed by Biripi and Gamilaroi composer Troy Russell, who has conveyed the magnitude of our vast continent, the power of nature, and, critically, the importance of caring for our environment. It’s a beautifully pared-back piece.
‘The Slow Tides’, composed by double bassist Jacques Emery, is a hauntingly lush – and luscious – work focused around the electric viola da gamba and sonorous double bass. These are complemented by Matt McMahon’s always sensitive piano and Matt Keegan’s glorious tenor saxophone.
Keegan wrote ‘The Queen’s Court’ specifically as a solo work for Eriksson, and in this piece she well and truly shows us the plangent and solemn beauty of her instrument.
Australian composer Alice Chance contributed two new works for this album. ‘Shadow’ features voice/violin, tenor saxophone, electric viola da gamba, piano and double bass (played on this track by Brett Hirst). It’s a gorgeous piece, investigating the ideas of colour and shadow, and how uncertain life can be. Bishop brings the reflective lyrics to life. Her second composition, ‘Tetris’, is scored as a duo for electric viola da gamba and piano.
Another mellifluous pairing can be heard in ‘Dark Dreaming’, where the electric viola da gamba is joined by bass guitar, played by Siebe Pogson, who also composed this piece. While the interplay between the two musicians is rather playful, underlying this work is a deep sense of gravitas.
Eriksson’s own composition ‘Swirling Flame’, written in response to a work by noted ceramicist Barbara Campbell-Allen, features electric viola da gamba and alto clarinet – an inspired pairing. It’s such a treat to hear the alto clarinet, which provides the swirling, particularly in the Gigue; and that swirling motif is then picked by the electric viola da gamba in the movement entitled ‘Le Tourbillon’. I loved this work with its mix of old and new influences.
Icelandic composer Hildigunnur Runarsdottir wrote ‘Von-Hope’ for Elysian Fields. She scored it for tenor saxophone, electric viola da gamba, piano and double bass. It’s a short piece – not quite two and half minutes – and it took only a moment for this reviewer to find herself swaying in time to the melody.
Pianist Matt McMahon brings his considerable jazz sensitivities to his contemplative composition ‘November’, which is made up of a wealth of soundscapes thanks to the addition of tenor saxophone, electric viola da gamba, and double bass. That piece rounds out this rather wonderful, and almost meditative album.
Swirling Flame is a recording to savour, one to listen to closely so that that there’s no chance you’ll miss even one sublime note.
The musicians
Susie Bishop (vocals and violin); Matt Keegan (tenor saxophone and altom clarinet); Jenny Eriksson (electric viola da gamba); Matt McMahon (piano); Jacques Emery (double bass); Brett Hirst (double bass); Siebe Pogson (bass guitar)
Swirling Flame will be released by Earshift Music on 24 October. The album launch will be at the Sydney International Women’s Jazz Festival on 30 October, at Johnston St Jazz, Annandale.
