The Stefan Orins Trio’s October 11 is titled after the date this live recording was made in 2021, at the Tourcoing Jazz Festival. Oct. 11 also commemorates the day in 1961 when Daisaku Ikeda, a Japanese philosopher who Orins admires, first traveled to France.
Due on May 27 through Bandcamp and circum-disc.com, October 11 features Stefan Orins on piano, Christophe Hache on double bass, and Peter Orins on drums.
Double bass introduces the opening “Natt Resa,” and is soon joined by piano and drums. The track develops into a melodic, thematic number with ample room given to the talents of the Stefan Orins Trio, with a notable bass solo at its core. A gorgeously worked dialogue between the piano and drums provides contrasting patterns and counterpoint rhythms, as the two musicians drive the music forward.
“Fjell Luft” sees the piano leading, backed by poised percussion and Christophe Hache’s sonorous double bass lines, in a lilting, tuneful track which again allows plenty of scope for the musicians to excel – each opportunity taken with relish. The piano lines on this track are intricate and traverse the entire length of the octaves. “The Hindu” is an exciting track with various time patterns set by the piano and drums. The bass adds its voice with plucked and staccato notes, which lead into a slighter darker-toned section with a menacing expectation. This is a terrific number musically, and one which took a few listens to catch all the movement going on. The drums are impressive, as the enthusiastic clapping from the audience at the end confirms.
“Petales” is gentle, relaxed, and softly voiced with glorious bass lines and delicately placed piano motifs. The melody line of Stefan Orins’ piano leads throughout the track, and Peter Orins’ drums add intuitive contrast, exploding at one point to change the atmosphere for a spell before it dives back down to gentle tones — a beautiful number. “Wangari Maathai” is colorful, splendid and redolent with change as it weaves a picture in the listener’s mind. Quiet episodes are contrasted by louder sections, underpinned by steady percussion. The track builds in energy as it progresses, then it drops back to quietude and contemplative atmosphere again around the 4:20 mark.
“Taplow Court” is a well-arranged track with a musical smorgasbord of tempos, melodies, and patterns creating just over 10 minutes of engagement, while the final track “For” is a gentle duet of bass and piano to start with. Drums join in to complete the trio, and the conversation continues between the three musicians. It is piano-led, but every member of the Stefan Orins Trio has their input which is vital to the overall essence of the number. Flourishes of energized changes maintain interest, particularly from Peter Orins’ drums.
October 11 is an enjoyable, modern jazz album with a firm rooting in the jazz of history, but the numbers are well arranged for the musicians and allow expression and a change of atmosphere where needed. Christophe Hache’s bass adds subtle yet audible squeaks and squeals at times, which adds to the textures and interest in the album, while Stefan Orins’ piano is exceptional.
When good musicians come together to perform, it is a blessing. I would agree with the enthusiastic applause given to the Stefan Orins Trio by the audience at this recording: October 11 is great music and hugely listenable.
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