German clarinetist and saxophonist Susanne Ortner’s journey to New Orleans was partly due to her seeking “Sehnsucht” – a portion of the title of her new album. The German term “Sehnsucht” is complex, but generally it represents thoughts and feelings about all facets of life that are unfinished or imperfect, paired with a yearning for ideal and alternative experiences. It is about the longing for deep connection and belonging, and the knowing that you are truly at home.
In New Orleans, Susanne has found her “Sehnsucht.” Her trio consists of Nahum Zdybel (Joe Gilma, Bruce Forman and more) on guitar, and James Singleton (Astral Project, Chet Baker, Charlie Rich and more) on bass and she has toured extensively with them. The “Last Stop” of the title is the place where musicians ultimately end up – their inner peace and their musical home. Of the album, Ortner says: “I hope this recording will leave you delighted, and yet ‘yearning’ for more.”
“Luis Americano Na P.R.E.3” opens Last Stop Sehnsucht and straight away the Latin-influenced rhythms set the tone for this quality album. A deliciously mischievous clarinet soloing over a tight rhythm of the guitar varies in tone and volume to give life and distinct form to a gorgeously inventive interpretation of this number. Some beautiful, fretful guitar work from Nahum Zdybel, a double-bass section from James Singleton which goes straight to the heart, then a clever and dextrous clarinet re-entry and solo combine to make this a wonderful, diverse and rich number. It also sets the bar high for this project, in terms of quality and musicality.
Lionel Belasco’s “Carmencita” begins with quiet, contemplative guitar, over which the clarinet sings its song, harmonizing and offering counter-ascensions and descents to the guitar work before soaring, flying and lifting away on its own emotive line. Then guitar and clarinet discuss the musical lines in a varying and complex arrangement, swapping and taking the lead in turn and then coming together again in harmony. There is a brilliant percussive element introduced by the woodwork of the bass and guitar too, and that emphasizes the Venuzuelan waltz influence of the number.
“Mamanita” opens with an introductory salvo from the clarinet, and the number is given a unique twist from the three musicians – yet it still retains much of Jelly Roll Morton’s original tones. His Spanish temperance is not lost here, yet also the influence of New Orleans comes across as the band deliver this flowing, circuitous and harmonic number with aplomb and respect. The slapping, joyous delivery from the bass is outstanding. The final part is a glorious free for all and works a treat. The atmosphere of “Home (When Shadows Fall)” is dictated by Susanne Ortner, this time on gentle, breathy tenor sax creating the reflective melody of the introduction. That then gives way to a sultry, laid-back delivery of the number, which sways and swings its way to the end via a pretty guitar diversion and a double bass solo that’s well worked.
Sidney Bechet’s “Chant in the Night” is underpinned with fast, tightly knit rhythms from the guitar and bass, over which the soprano sax of Susanne Ortner sings. There are moments when the trio vie for attention in a glorious, absolutely ear-catching deluge of sounds which veer wildly from complexity to simple, harsh but oh-so-rhythmic lines. The bowed bass solo is superb and emphatic, and all the while that rhythm keeps going – a seven-note riff on a 4/4 rhythm which keeps you engaged and fully alert. This is a totally standout track on Last Stop Sehnsucht, which is a difficult thing to achieve because this music is so good.
“Gloria” is, in musical contrast, gentle, flowing and sweet, while “Proezas de Solon” is an interesting discussion between the instruments, guitar responding to the clarinet line as the bass contemplates in the background, before asserting itself and giving its own solo, which the guitar supports. “Migalhas De Amor” is atmospheric, as the open, eerie guitar sets out the rhythms and the clarinet carries an Arabic theme redolent of sand-blasted hills, golden sands and sunsets with a mystery. The music then resolves into a musical melody, which sings over the top. The bowed bass is again wonderful on this track, lilting and resonant in the hands of James Singleton who sings from deep within its belly. Deep and masterful.
“Caminhando” is uplifting, rhythmic and fun. Susanne Ortner again switches to tenor saxophone, which she plays with dextrous finger lines and a distinctly European touch. The bass solo is another moment of bliss. Another Jelly Roll Morton track, “The Pearls” is swinging, traditional and sways its way through five minutes of delight. Then “Make Me a Pallet on the Floor (Atlanta Blues)” introduces itself with a ravishing solo from the clarinet, before it swings out big time with the blues-infused rhythm dictating a slow-walking gait. That’s all underpinned by the stalwart bass and some nifty guitar work, and a lovely conversation between the strings before the clarinet takes the lead again.
“Santa Morena” is a fast-paced, European-influenced number which paints a swirling, 3/4 rhythmic and colorful picture of the musical landscape. The percussive features underline the Spanish feel and the solo from Susanne is a delight, allowed to flow solo for a while, before guitar and bass each add their own essences to the mix so the song is given textures and depth. “Waltz for the Road Less Traveled,” penned by Susanne Ortner herself, starts with a bass solo over which the clarinet introduces the slow, waltzing melody. It’s a lovely way to end Last Stop Sehnsucht.
This recording offers a musical exploration of the concept of “Sehnsucht” – in the choices of tunes, as well as in their interpretation. The repertoire mostly stems from the early 20th Century. There are influences of Brazilian choro – Susanne’s most recent musical infatuation, often referred to as the “New Orleans Jazz of Brazil” – but also Spanish, Latin and European polka influences can be heard. Across Last Stop Sehnsucht, there is a sense of the influence of countless musicians, many musics and it’s all infused in original, sometimes breathtaking arrangements, which are delivered in style. This is a wonderful, creative and quite beautiful album.
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