fire!The first track on Fire! You Liked Me Five Minutes Ago, 'If I Took Your Hand...' is over far too quickly. An insistent bass ostinato coupled with infectious drums get things off to a fantastic start. Bassist Johan Berthling and drummer Andreas Werliin lock together to provide the kind of groove that makes me wish it would go on forever. Mats Gustafsson's saxplay arrives after a while to squeal and squawk over the top. The songs six-minutes are over in a flash. If this track had been stretched to 60 minutes and took up the whole disk, I for one would have been very happy. As it is, it serves as a demonstration that Berthing and Werliin make a potent rhythm section, even if Gustafsson doesn't really have space to get beyond an initial statement of intent. The long pair of tracks that make up the majority of this recording, 'But Sometimes I Am" and "Can I Hold You for a Minute?" seem to aim more at creating an atmosphere than showing off instrumental prowess, although Werliin's percussion again features prominently. Berthing and Gustafsson both dabble with keyboards and Berthing also contributes electric guitar, while Mariam Werliin contributes some wordless, Sun Ra-ish vocals to 'But Sometimes I Am'. Typically for a Rune Grammafon release, everything is exquisitely recorded, Berthing's upright bass playing has a luscious depth and resonance. When things seem in danger of getting a bit too 'tasteful' Gustafsson pitches in with some serrated-edge sax or ring-modulated Fender Rhodes to stop any listeners from getting too comfortable. 'Can I Hold You for a Minute' is a more rock influenced with dubby electric bass, a selection of rich-but-abrasive electronic noises and particularly passionate sax contributions from Gustafsson. The title track, driven along by handclaps and catchy-but-simple sax riff, crackles with energy, with fantastic syncopated drumming and hints of synthesiser 
håkon kornstadnoises that are mostly buried in the mix. Håkon Kornstad's latest release Dwell Time features the saxophonist playing solo in Sofienberg church in Oslo and using a looper to layer the rich variety of sound textures that he creates. In keeping with the venue, the mood of this recording is contemplative and peaceful and a sense of spirituality is never far away. Kornstad exploits the acoustics of the church with a delicate ear, filling the space with resonant notes and allowing them to die back into silence. His early infatuation with Stan Getz is audible in his warm, carefully-articulated tone, while his harmonising gestures towards choral music. Kornstad plays not only tenor and baritone sax but also flute and 'fluteonette' (apparently a kind of hybrid instrument somewhere between a flute and a clarinet). There is plenty of melody in these pieces, even occasional moments of finger-snapping 'grooviness' and little to frighten off the unadventurous listener. Kornstad coaxing feedback from his flute during 'Wipeout' is about as confrontational as things get and this recording could be accused of being rather tame when compared with Fire!'s gloriously rough-edged sound. There is an austerity and coolness to the performance, but it is clear from the first note that Kornstad is not interested in dazzling his listeners with barrages of sound. Played appropriately loud, "Dwell Time" captures a sense of grandeur rarely encountered in jazz-based music. Kornstad's mastery of his instrument is clear, but it is worn lightly and the moments of silence are exquisitely placed. Both You liked Me Five Minutes Ago and Dwell Time should be played as loud as you dare, all the better to enjoy their varied riches. -- nick ilott.
:: Fire!/You Liked Me Five Minutes Ago - Rune Grammofon/Cargo.
:: Håkon Kornstad/Dwell Time - Jazzland/jazzlandrec.com
