The festival also offered only the second Scottish appearance by The Source’s saxophonist, Trygve Seim, and his fellow Norwegian, accordionist Frode Haltli, although after their midge-ravaged unveiling of Seim’s festival commission at Finlaggan earlier – fabulous open-air setting, beautiful music, hellish continuous aerial assaults – it was their third Scottish gig, as impromptu support to The Source, that proved the more comfortable for all concerned.
In just two pieces – the gorgeous, processional Beginning an Ending from Seim’s classic Sangam album and their jauntier variations on Bob Marley’s Redemption Song – the duo displayed an extraordinary range of expression and sounds,
evoking Middle Eastern calls to prayer, Arctic Circle landscapes and street games with their superb instrumental control.
The Source also played just the two items, although the first was a lengthy medley including themes familiar from their ECM recordings.
Their understanding is uncanny, with Seim, trombonist Oyvind Braekke and bassist Mats Eilertsen taking turns to lead the music into its next phase, which might be a kind of Scandinavian version of the late 1950s Mingus band, an African folk dance or a marching band fanfare.
Absolutely key to this freeflow of energy, ideas and tightly executed ensemble vignettes is drummer Per Oddvar Johansen, whose subtlety, precision and ability to switch from sticks to brushes to bells to musical saw proved a revelation in a set that gripped the attention from start to finish.
****
