Erik C++

Like his older brother Wilhelm Friedemann, Carl Philipp Emanuel Bach received his musical training from the most exacting of teachers, and there is no doubt that, with the experience of the Trio sonatas for organ and Das wohltemperierte Clavier, both became admirable keyboard players.

For Norwegian musician Erik Wollo, Guitar Nova is a return to his roots. Best known for electronic landscapes on albums such as Solstice and Images of Light, Wollo actually generates most of his music with a guitar synthesizer. For Guitar Nova, however, he returns to pure, mostly acoustic guitar in an intricate, delicately balanced set of compositions. But it's not just another solo guitar album. Wollo multitracks his instruments in elaborate designs that have the same evocative power of his more lushly orchestrated synthesizer works.

For Norwegian musician Erik Wollo, Guitar Nova is a return to his roots. Best known for electronic landscapes on albums such as Solstice and Images of Light, Wollo actually generates most of his music with a guitar synthesizer. For Guitar Nova, however, he returns to pure, mostly acoustic guitar in an intricate, delicately balanced set of compositions. But it's not just another solo guitar album. Wollo multitracks his instruments in elaborate designs that have the same evocative power of his more lushly orchestrated synthesizer works.

As the old saying goes, "the third time's the charm." This is indeed the third time the German label Accent has issued this coupling of Domenico Scarlatti's Stabat Mater with João Rodrigues Esteves' Missa a oito voces. The first time was in 1990, when the recording by Currende under the leadership of Erik van Nevel was new, and the second in 1998 as part of a box set containing this and several recordings by Concerto Palatino. No complaints here, though, as this is one of the finest discs Accent has to offer.

Erik Truffaz received an early introduction into the world of a professional musician, thanks to his saxophone-playing dad. When he was ten years old, the French trumpeter began performing in his father's dance band. As he grew older, Truffaz performed with other bands in the region until he was 16 and heard Kind of Blue by Miles Davis. The great jazz trumpeter's music inspired him to learn more, and he set off for Switzerland's Geneva Conservatoire, where he became a student. Truffaz's repertoire expanded to works by Mozart and Verdi, and he performed as part of L'Orchestre de Suisse Romande. He also played in cover bands before establishing a group called Orange. The band concentrated on Truffaz's compositions…

A re-interpretation so often comes from an impulse, even if subliminal, of one-upmanship – let me do better, wait ‘til you hear it my way. Sometimes though, and it happens too rarely, the cover is an act of devotion in which a musician’s humility produces something more beautiful than bravura could. When Erik Hall undertook his painstaking reconstruction of Steve Reich’s 1976 masterpiece of minimalism, “Music for Eighteen Musicians”, it was as much an exercise in modesty as ambition. With its repetitions and complex constructions, the piece makes great demands on stamina and concentration, and Reich himself advised that these challenges meant it should probably be performed with more than eighteen musicians. Hall, however, recorded every part himself in his small home studio, playing instruments he had on hand, in live, single takes.

Erik Söderlind is a young man in no particular hurry. Not yet 30, he plays jazz guitar with supreme assurance, and on his debut album Twist For Jimmy Smith, he has put together a lovely, leisurely paced, always swinging collection of standards and originals that deserves worldwide recognition. Of course, he's unlikely to get it. We live in a world obsessed with image, a world that all too often mistakes image for the real thing. Should Sweden's Söderlind be passed over, it's the world's loss. Here he teams up with two other extremely talented local musicians, organist Kjell Öhman and reed man Magnus Lindgren to make an album that brooks repeated listening. Söderlind plays in a line stemming from Charlie Christian and continuing through Wes Montgomery and George Benson—and that's George Benson when John Hammond billed him "The Most Exciting New Guitarist On The Jazz Scene Today." Before someone discovered he could sing, dressed him in glittery suits and stuck him on the cabaret circuit. Twist For Jimmy Smith provides a glimpse of what jazz was all about in those far off days; though this album is not about nostalgia. It's about the real thing, what Söderlind, on the sleeve calls "the joy of making music" and communicating that joy.

Do you remember “friendship bread”? It was a trend in the 1990s where people shared a starter yeast to make a type of cinnamon bread, keeping some to make a loaf and then sharing the starter with more friends so they could make their own loaves. The trend was kind of like a chain letter — albeit a harmless, creative and delicious one. Well, the friendship bread model is not too dissimilar from the way Erik Koskinen and his friends put together the songs for Down Street/Love Avenue, Koskinen’s latest album, releasing April 5. “I kind of just invited a lot of musician friends to add stuff to [my demos],” Koskinen explains. “And the idea was if I let them add something to it, and they thought of somebody else who would be good for that track, they were then invited to give it to somebody else without me even having to really know about it. It wasn't really a plan, and that built into what happened on how the record got made.”