Yelena Eckemoff

Scenes from the Dark Ages 2-LP

L & H Productions

You can always count on something completely different from composer and pianist Yelena Eckemoff. On Scenes from the Dark Ages she makes a musical presentation of having dreamed of being born in medieval times. Yet the music doesn’t sound at all centuries old as she meshes classical music constructs and her original melodies with the rhythmic and stylistic elements of jazz fusion and world music from the 21^st century. She recorded the album in Italy, bringing together Italian musicians who could execute her unique ideas. They are Riccardo Bertuzzi (electric guitar), Carlo Nicita (flute), Eloisa Manere (violin), Riccardo Oliva (bass) and Trilok Gurtu (drums, percussion).  Eckemoff plays piano, organ, synths and more as she says here,  “This project is so different from my others because it has a prog-rock feel…I wanted rock guitar and electric bass and really strong drums…you’ll hear me playing not only piano, but medieval instruments like organ, clavichord, harpsichord, and celesta. I aslo wanted violin and flute, and I think this somewhat atypical instrumentation gives the music another dimension.” As we learn from the notes Eckemoff played in prog-rock band as a teenager so those sonics are well-familiar.

 Eckemoff had composed a project called “Medieval Symphony” prior where she played all the instruments. This reincarnated her childhood dream about medieval times and fairy tales she used to read. She considered releasing it but realized it would be better with live musicians. In that sense, this is a long time coming. Yet, her ability to integrate these medieval strains seamlessly with improvised jazz is remarkable.

Opening “Pilgrim” opens with funky bassline, heavy drums and flute. You may think at first that you’re listening to a Jethro Tull record.  As we think about, that band had some medieval qualities too.  Yet, as the tune evolves with the leader’s piano, it reads more as jazz but when Bertuzzi’s blazing guitar enters, you realize you’re hearing the kind of fusion almost unlike any other. “From Peasants Life” has more classical strains with Nicita’s flute carrying the beautiful melody. “Spell-bound Fortress” has a foreboding quality commensurate with the title in its deep bass, dark piano chords, the combination of the flute and violin, and and underlying hints of electronics. Again, with Bertuzzi’s entrance, it goes in an improvised direction as if a battle is taking place. We have the melancholy but hauntingly beautiful tones of “Monks in Scriptorium.” Woe to one who disturbs the quiet as is always true for “Cathedral” where the combination of synths and acoustic instruments simulate a sacred choir. “Legends of a Castle” is a mesmeric, dreamlike piece with Bertuzzi’s punctuating it with his whammy bar in spots while also blending nicely with Manere’s violin in other sections.

“Adventures of a Knight,” which kicks off the second LP, goes full bore prog-rock with Eckemoff on organ and Bertuzzi firing off sparks in the first section as the next section teems with a fusion of flowing classical and jazz, eventually returning to the opening tones with Eckemoff’s organ solo and Bertuzzi’s incisive guitar. “Battle” brings the bristling energy of organ, guitar, bass, and drums going full throttle, mostly putting jazz aside for the moment. “Chivalry” bears more medieval qualities with all melodic instruments contributing to the dignified melody. One can envision the clashes through the slashing guitar and crashing cymbals in “Tournament” while “Masquerade” seems to employ the medieval instruments she cites in her quote above. She intertwines them gorgeously with the guitar and violin, all backed by Gurtu’s insistent beats.  “Alchemist” is soothing, rendered on top by flute and violin, with an underpinning touch of synths to give it a mysterious tone, yet like so many of the others, a bright, bubbling melody bursts forth in the middle section to arouse us from our trance.  “Quest” is another lengthy, dramatic piece that is expansive and cinematic, enabling the listener to envision a journey fraught with obstacles and small victories along the way. Closer “From the Life of Lords” beautifully juxtaposes the medieval motif with prog-rock, as apt a summarizing  piece as we’d expect.

Eckemoff has delivered one of the most ambitious, satisfying albums of her career as Scenes from the Dark Ages sounds not at all like anything else in her brilliant catalog.  It’s unfortunate that it will be almost always be “file under jazz” when it will have just as much appeal to rock and prog-rock fans.  It’s broad, well-conceived record that deserves wide exposure.

– Jim Hynes

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