PRESS TEXT

The new Scandinavian supergroup The Big YES! releases their self entitled debut album on Nakama Records. It was recorded live in a Swedish studio during a tour in early 2018 and captures the energetic synergy of four harmonic individuals in perfect unison, hence the one and only track title Kalmar Union: A reference to the historical union between Denmark, Sweden and Norway. This is free flowing dynamite music cast in a well known mold, but with its own flavor. The music is democratic like Scandinavia itself, but also dangerous like North Korea, and uncompromising like the old USSR. Still, THE BIG YES! erases borders and unites everyone who is willing to listen in a single grand and unspoken YES!

The Scandinavian music scene has for some decades now proven to be a fertile breeding ground for aspiring international artists. THE BIG YES! is no exception, and carries on the fruitful tradition of exciting collaborations between the Scandinavian countries. Swedish saxophonist Anna Högberg on saxophone teams up with Danish trombone player Maria Bertel, both of which are amply supported by the hard hitting Norwegian rhythm combo Christian Meaas Svendsen and Ole Mofjell on double bass and drums respectfully.

TRACK LIST
1. Kalmar Union

PERSONNEL
Anna Högberg - saxophone
Maria Bertel - trombone and effects
Christian Meaas Svendsen - bass
Ole Mofjell - drums

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REVIEWS

The Sound Projector

With major involvement in The Attack Sextet and Brute Force, it seems that if certain band names can signify intent, then this Scandinavian avant jazz supergroup certainly has previous form when it boils down to a gritty, take-no- prisoners attitude. A further box ticked appears when one discovers that Big Yes! member; Danish trombonist/electronicist Maria Bertel (also of Selvhenter), is well known for her ‘outside the ‘bone’ techniques, while blasting out brassy invective “in front of a stack of amps”. An evocative promo sheet quote indeed, with shades of Peter Zummo, J.A. Deane and Sarah Gail Brand placing her in pretty exclusive company.

The Big Yes’s debut waxing comprises of a solitary thirty minute outing entitled “Kalmar”. A name check referring to an historic alliance between Denmark, Sweden and Norway that took place during the middle ages which finds a modern day equivalent in this outfit’s line-up, where Ms. Bartel and Swedish tenor saxophonist Anna Högberg are joined by the Norwegian rhythm section of double bassist Christian Meaas Svendsen and sticksman Ole Mofjell (also of Nypan and COKKO...). Captured live at the Element Studios, in Gothenberg, Sweden. “Kalmar” was smorgasborded in between gigs during 2018. It’s a barnstorming onslaught that focuses on red-blooded Ayleresque spiritual/marching band thematics, forceful trombone support (w/ digital treatments) and gargantuan Han Bennink-like drum/percussion detonations. But at the seven minutes mark, I did wonder if that eyes-on-stalks intensity could be maintained without injury to band life and limb. Things do resolve themselves however, with a strange extended interlude of bowed bass harmonics, teased and coaxed from the very bowels of its bulky wooden frame. The high-end creaks and whispers seemingly more allied to Chris Watson’s nature-sourced tape explorations than anything found in the current jazz idiom. A full circle is eventually completed with a second offering to the insatiable god of ‘Fire Music’ that just might be perceived as a more intense listening experience than the quartet’s bruising and rambunctious entrance.

Stating the obvious here, but for once the c.d. does have the advantage over its shiny vinyl counterpart as it provides a completely unbroken performance just as nature intended.

The Best Jazz on Bandcamp, September 2019

It’s a wise idea to check out any studio recording that came about while the musicians were on tour. They’re already in tune to one another’s rhythm and flow, they’re collaborating daily in a live setting, and they’re often working on new ideas at the same time they’re replaying the tunes that got them there. This thrilling session from The Big YES!—the quartet of saxophonist Anna Högberg, trombonist Maria Bertel, bassist Christian Meaas Svendsen, and drummer Ole Mofjell— is one such example of the gems that can come from those conditions. This music is wild and untamed, but through the strength of their synchronicity as a performing unit, the quartet exert their will upon it and give the music both shape and form.

Avant Scena

“The Big YES” was recorded by four featured jazz masters – it’s Anna Högberg – (saxophone), Maria Bertel (trombone and eects), Christian Meaas Svendsen (bass) and Ole Mofjell (drums). All four jazz masters had been improvising together many times – they’re creating an inspiring and exclusive sound. Each of them has his own and original playing style, touching playing manner, unique sound and great virtuosity. All their music is based on avant-garde jazz. The roots of 1960’s and 1970’s avant-garde jazz are fused together with innovative experimental jazz, modern conceptions, stunning sound experiments and Scandinavian avant-garde jazz. The traditions and innovations, experiments and surprises, strong contrasts and steady beats – all these contrasting elements go along just ne in their compositions. All improvisers are the masters of their art – they’re the central gures of avant-garde jazz scene for many years.

Expression, energy, drive and frantic ris contain the main base of “The Big YES”. The music is dynamic, lled with surprises, modern expressions and passionate melodies. Expressive and rich musical language, innovative instrumental section, wide rhythmic section, sharp harmony line and impressive melodic section are the main elements of musical pattern. The musicians are corresponding to each other’s playing – they’re getting on luminous culminations, burst on immediate reponses, sudden changes or contrasting pieces. Saxophone tunes by Anna Högberg are played in active and perturbating mood. Improviser makes terric wild ris, roaring frantic blow outs, hysteric shrieky tunes and remarkable melodies and combines all these elements together. That nally makes an eort to hypnotysing, bright and exclusive sound. Ornaments, owing dizzy passages, textures and sonoristic experiments accompagnie the melody all the time. It’s the source of gorgeous, colorful and original tunes. Anna Högberg’s saxophone is the key of the melody line – it makes an original, expressive and wild melody and dictates the main mood of album. Trombone and eects make a great combo. Maria Bertel is the master of this art – deep, heavy and cracking trombone is illustrated by modied tunes, special eects, strange timbres, synth sounds and other electronics. Solemn, lyrical and peaceful contemplations go straight to sparkling culminations, impressive blow outs, terric breaking sessions and fantastic ris. Trombone’s improvisations are played with drive, expression and full of creative, radical and original musical decisions. Saxophone and trombone form a simply amazing, eective and luminous melody line. The duos of these two improvisers certainly are the most beautiful and interesting episodes. A great bassist Christian Meaas Svendsen brings new colors and fresh sound to the compositions. A steady, tight and deep bass line is formed by using repetitive rhythms and minimalistic series. These episodes are changed by stormy ris, breaking sessions, energetic culminations and perturbating sessions accompagnied by strange tunes and fantastic sonoristic experiments – all that makes an eective and touching sound. An innovative experimental jazz and the basics of modern Scandinavian avant-garde jazz are the basics of simply marvelous rhythmic section which is leaded by Ole Mofjell. A drummer gets on dierent moods, it’s changed and twisted suddenly and silmunateously – hysteric cries and silent pauses, light childish excerpts and furious perturbations, frantic ris and gloomy pieces, calm relaxing tunes or stiking explosions are joined together. An inspiring, bright and passionate sound is created. The music of this album has driving, emotional and thrilling sound.