Elm

"Her tager de udgangspunkt i en række sange fra højskolesangbogen og salmebogen. Endda så konkret at vi som lyttere introduceres for sangene fra nærmiljøet - der hvor de synges. Lyden af morgensang, fællessang, korsang og andre steder hvor sangene i al deres tidsløshed luftes. Efter introduktionen af sangen tager ELM over. De improviserer ud fra forlægget ... Musikkens nærvær og intimitet smelter sammen med øjeblikket. Jakob Sørensens melodiske improvisation betager mig endnu en gang. Frej Lesner har et ubundet og empatisk trommespil. Mens Mathias Jæger tilføjer den højstemthed som musikken fortjener. Jeg er begejstret".

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""Bagland" was a more formal jazz album whereas here (...) the approach is more one of free improvisation. But, and this is the clincher for me in its success, this is free improvisation with a specific set of sources ... So, we get the songs, variously sung by community choirs or vocal duet or piano or trumpet solo, and then we also get the trio's improvisations very loosely based around these songs. All three have their own sound and style, and they interact with great sensitivity. The overall effect is thoroughly compelling. There is a quiet, thoughtful, spacious, natural, meditative and spiritual feel to the whole project. It's very different from Bagland but it matches its beauty".

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"Most of the songs are introduced by a form of choir singing - vocal duet, choir for mixed vocals, male choir - all sung in Danish - or piano and trumpet solos. These communal folk motives are used as the main idioms for the open, free improvisations. All these improvisations maintain the melodic, highly emotional core of the traditional folk songs, even at its most spare, meditative moments ... The trio succeeds to form a clear sound of its own - contemplative, ethereal and moving, highlighting a reserved, emphatic interplay but one that is not reverential in its spirit. Sørensen adopts a slow, whispering tone of singing-playing, Lesner uses his drum kit to offer subtle colors and Jæger elaborates wisely on fragments of the original themes".

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"Med titler som "Her vendte far sin plov" og "Jeg havde mig en hjertenskær" var alarmklokker på nippet til at ringe. Det lød som et miks af Højeskolesang- og Salmebogen ... Når det alligevel endte med spidsede øren, hang det sammen med de indlagte improvisatoriske forløb, hvor især trompetisten Jakob Sørensen på kaldte sig opmærksomhed, når han sang med trompeten som i en brandert. Musikken foldede sig her ud i et intimt, enkelt og sparsommeligt univers, der var frapperende underligt og skævt".