Heretical thesis: The most impressive example of jazz that can stand its ground in an open dialogue with electronic approaches and other things comes this year from Nala Sinephro. Without an orchestra, but with an orchestral instrument. The studied composer, born in Belgium and living in London, plays the harp on her debut album. Synthesizers must also be present, and London star Nubya Garcia can be heard on the saxophone. Bass and drums are also present as basic equipment, as well as piano, all rather subtle in their appearance. Sometimes it sounds more traditional, then again the structures dissolve towards drone. The final piece is over 17 minutes long. The result is a dynamic of increasing and decreasing degrees of compression that gives the record its cohesion. On “Space 1.8”, Nala Sinephro strides through different rooms that are connected to each other like in a house, but all have their own dimensions and design features. None of these rooms is particularly crowded, welcomes one in a friendly way, you enjoy spending time in each of them. And without the memory being able to cling to melodies or anything afterwards, the feeling of wanting to return there soon remains.
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Space 1.8
