Mathias Eicks intensely melodic trumpet occupies the centre-stage in this album of self-penned tunes which will appeal to an audience beyond jazz. Against the powerful backdrops offered by his sleek, modern band, driven by two drummers, he delivers richly lyrical soliloquies.
Available also as 180-gram vinyl LP.
Featured Artists
Mathias Eick
Trumpet, Vibraphone, Electric Guitar, Upright Bass
Audun Erlien
Electric Bass
Andreas Ulvo
Piano
Torstein Lofthus
Drums
Tore Brunborg
Tenor Saxophone
Gard Nilssen
Drums
Morten Qvenild
Keyboards
Sidsel Walstad
Harp
Recorded
2009-2010
Original Release Date
18.03.2011
1Skala
(Mathias Eick)
06:14
2Edinburgh
(Mathias Eick)
05:04
3June
(Mathias Eick)
04:14
4Oslo
(Mathias Eick)
05:27
5Joni
(Mathias Eick)
05:52
6Biermann
(Mathias Eick)
06:07
7Day After
(Mathias Eick)
04:52
8Epilogue
(Mathias Eick)
03:20
Wer sich an Eicks ECM-Debt “The Door” erinnert, der bekommt mit diesem neuen Album “Skala” nochmal einen Quantensprung geliefert. Mathias Eick lsst seine Trompete quasi singen, unheimlich lyrisch ist das Album Skala geworden. Alle Kompositionen sind von ihm selbst, beeinflusst “von Pop bis Klassik” wie er selbst sagt. “Oslo” heit z.B. seine Hymne auf die norwegische Stadt, “Joni” ist wiederum eine Verbeugung vor Joni Mitchell und ihrer Musik. In “The day after” bezieht sich Eick auf den Meilenstein “Belonging” von Keith Jarrett und Jan Garbarek und gleichzeitig verneigt er sich vor dem hmmernden Rock-Piano-Sound von Elton John.
Stefan Maelck, MDR
Il met en place un rpertoire vari, tendu comme une corde entre le classicisme mystique dEdvard Grieg et la pop rflexive de Sting. [] Les ambiances contrastes sentrechoquent, se superposent, et la toundra nordique shabille polychrome.
Francisco Cruz, Jazz News
A larger lineup and more detailed arrangements while never losing the lyrical path of the soloist the work is consistently revolving around. Textured layers of lyrical inventiveness. Engaging. While the admitted influences of this release range from calssical to pop, it is the brilliant use of these pop sensibilities that make Skala a sonic delight.
Brent Logan Black, Digital jazz news
Die ergreifend schnen Songs sind nicht nur stark autobiografisch gefrbt, sie ergeben auch ein Popalbum im Jazzgewand. […] Immerhin ist Skala eine Kreuzfahrt ins Unbekannte zwischen den Gestaden von Klang und Gefhl. Eick arbeitet zwar nicht mit Texten, doch er vermittelt den Eindruck, man knnte seine Geschichten wrtlich verstehen.
Wolf Kampmann, Jazzthing
[…] suono che in assolo tende alla massima pulizia, sereno e controllato; recupero dell amelodia; composizioni e arrangiamenti di semplice e illuminante leggibilit. Luso di elettronica e sovraincisioni parsimonioso; le formazioni mutano a ogni brano, da trii a settetti, e la ritmica si muove secondo coordinate di fine ed elastica leggerezza anche nei brani che vedono la compresenza dei due batteristi.
Fugaldi, Musicajazz
Aber bei Eick und seinem mit gleich zwei Schlagzeugern besetzten Quintett sind es vor allem die ganzen starken Melodien, die Nhe zum Pop, die auskomponierten, wunderschn gestalteten Stcke, die seine Kunst ausmachen. […] Melodien, die im Ohr bleiben; Melodien zwischen Vertrumtheit und losbrechender Energie, die einen unweigerlich packt.
Christoph Giese, Klnische Rundschau
Auf alle Flle spielt kaum einer so schn Trompete wie er so vorsichtig, fast zart und zerbrechlich klingt sein instrument, dass man die Fabelwesen, die Trolle, ganz in der Nhe meint. Wenn dann noch Sidsel Walstads Harfe hinzukommt, ist es wohl um jeden Hrer geschehen.
Carina Prange, Jazzpodium
Norwegian trumpeter Mathias Eicks new album extends the concept and the panoramic sweep of his ECM debut The Door (recorded 2007). Its wider and bigger in all directions, Eick says. Skala calls upon the services of more musicians including, at times, two drummers – and there is more detail in the arrangements. What hasnt changed is the emphasis on the lyrical soloist at the centre of the production. Eicks elegant trumpet now has a larger space in which to sing.
Skala was crafted, Eick explains, like a pop production. Where most ECM discs are famously completed in three or four days, this project began with five weeks in Oslos Cabin Recorders Studio. At the outset, Mathias was mostly alone, sketching demos on a variety of instruments, then inviting players in as needed. The project moved on to Bugge Wesseltofts studio, vibraphone was added at Pooka Studio, and the album was completed at Rainbow Studio where it was mixed by Mathias, co-producer Manfred Eicher and engineer Jan Erik Kongshaug.
Skala pools new and older compositions, all written by Mathias, and inspired, he says, by music from classical to pop. The title tune is one that the trumpeter says has been following him for many years, its network of inspirations including Stings 1993 song Shape of My Heart. It is one of two pieces on the disc to incorporate the expressive saxophone of Tore Brunborg.
Edinburgh was written in the Scottish city, but draws inspiration from Norwegian composer Edvard Grieg and the plaintive cry of Jan Garbareks sax. Its not always easy to write pieces on the road. But around the time of The Door we had a nice tour in Britain, with some very fine grand pianos, and sometimes Id stay on stage after the gigs – with everyone around me packing instruments! – and try a few things. That was how this melody came up.
Eick describes June as a light and peaceful song, a reminiscence of summer days. The piece incorporates the harp of classical player Sidsel Walstad, currently of the Norwegian Broadcasting Orchestra.
Oslo, the albums most propulsive tune, is a song of the city. Its a groove-directed piece, with Radiohead amongst its pop references. Oslo also brings the idea of the two drummers into play. It sets them loose. The piece also includes significant contributions from keyboardist Morten Qvenild, best known for his work with singer Susanna Wallumrd.
Joni is, of course, for Joni Mitchell, whose work Eick has long admired. A specific association here is Both Sides Now in the orchestral arrangement of Vince Mendoza. I was really touched when I heard that. This piece of mine, Joni, is also several years old. When I had the right musicians in place, like the strong band here, it seemed a good opportunity to look again at some older pieces and set them amongst the newer tunes, to shape an album.
Biermann is named for the Oslo house that Eick rents, a place once owned by German merchant J. F. Biermann, back in the 19th century. I guess you could call it an hommage to my working space. I have a piano there and some basic recording equipment, and its a great place to get some work done when Im in town.
The Day After references the 1970s, and is influenced by sources as diverse as the Jarrett/Garbarek Belonging collaboration and the pounding rock piano of Elton John. The beat, though, is definitely retrospective not much connection to jazz (laughter). In the end, its a pop groove. Above it, Tore Brunborg and Mathias solo persuasively.
Epilogue develops from the simple idea of softness meeting raw energy, as Mathiass tender trumpet soliloquy gives way to typhoon-strength drumming from Torstein Lofthus. Tostein has a reputation as one of the best rock and roll, heavy metal and jazz drummers in Norway. Hes really one of the stars now, and I wanted to display what he can do
On several tracks, Lofthus is partnered with fellow drummer Gard Nilssen. Nilssen took drum lessons with Audun Kleive (drummer on The Door) from the age of seven, and has gone on to become a much-admired player, recently winning the Norwegian Jazz Championship with the band Puma. Hes best known as a jazz and free jazz drummer in Norway, although he also plays in pop contexts, says Mathias. Both drummers are in the new Eick quintet, a group completed by pianist Andreas Ulvo and bass guitarist Audun Erlien. Ulvo has worked extensively with singer Solveig Slettahjell and recorded several albums as leader of the Eple Trio and the Ulvo Ensemble. A melodically-gifted pianist, he is also a committed photographer (and took the portrait of Eick in the booklet of Skala). Audun Erlien, the only band-member retained from The Door has also deployed his pulsating bass in the context of Nils Petter Molvaers music.
Tour dates:
National Jazzvenue, Oslo (March 5) Jazzklubb, Arendal (March 7), Jazzforum, Hadeland (March 11), Union Scene, Drammen (March 12.03), Jazzforum, Stavanger (March 17), Sardinen, Bergen (March 18) Dokkhuset, Trondheim (March 19), Jazzklubb, Troms (March 20), Voss Jazzfestival (April 16), Jazz Ahead, Bremen (April 29), Stadtgarten, Kln (May 2), Centralstation, Darmstadt (May 3), Ampere, Munich (May 4), Midtsommerjazz Festival, lesund (June 18), Festspillene in North Norway, Harstad (June 20), Pumpwerk, Wilhelmshaven (August 4), Park der Grten, Bad Zwischenahn (August)
YEAR DATE VENUE LOCATION
2025 April 02 Byscenen Trondheim, Norway
2025 April 04 Victoria Theater Malm, Sweden
2025 April 05 Jazzklubb Horten, Norway
2025 May 24 Konzerthaus Vienna, Austria
2025 September 16 4/4 forum for Takt og Tone Mo i Rana, Norway
2025 September 17 Jazz Evidence Kongsberg, Norway
2025 September 18 Fasching Stockholm, Sweden
2025 September 19 Parken Kulturhus lesund, Norway
2025 September 20 Stormen – Adlib Bodo, Norway
2025 December 11 NDR Hamburg, Germany
2025 December 12 NDR Hamburg, Germany
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