«The Hero with a Thousand Faces» as a source of inspiration

The large-scale work «Abyss,» awarded with the «Zelta Mikrofons,» resonates powerfully and electrifyingly

Toms Rudzinskis and his like-minded colleagues were awarded the «Zelta Mikrofons» for their album, which they recorded and also performed in presentation concerts last year, generating a widespread resonance. The work titled «Abyss» was recorded in the recording studio in Berlin with an international team (Igor Osypov – trumpet, Ukraine; Povel Widestrand – keyboards, Sweden; Tom Berkmann – bass, Germany; Fabian Rösch – drums, Germany; Mette Nadja Hansen – vocals, Denmark) has been heard and well-received.

«Abyss» can be considered an elaborate large-scale jazz composition. The musical narrative, based on Joseph Campbell’s book «The Hero with a Thousand Faces,» is expressed in 13 pieces of varying scope. Short pieces (only the theme, without improvisation and extended material development), functioning more as interludes and transition phases to the next part of the story, are replaced by elaborate compositions where the ensemble’s cohesion and Rudzinska’s musically architectural vision can be fully appreciated.

Stylistically, «Abyss» has a pronounced fusion touch, with electronically dominated timbres prevailing in the harmonic accompaniment. Acoustic pianos are used only in one of the pieces at the very beginning. There is a significant emphasis on fixed material in the music language, leaving specific sections for improvisational freedom where it fits in. Harmony and rhythm elements are used freely and unconstrained, without specific restrictions or obvious references to bebop or swing. The use of expression means serves the storyline. From a compositional and arrangement perspective, a characteristic feature throughout the album is the crystallization of saxophone and vocal unisons. This tandem is heard repeatedly.

The compositions are interconnected with various thematic arcs. A guiding motif runs through the cycle, making appearances that catch the ears of attentive listeners and linger in memory. In the introductory piece «A Beginning,» the guiding motif repeats five times, initially sounding in unison, but with each repetition, the instrumentation becomes denser. In the concluding piece «The End of The Beginning,» the guiding motif appears twice, preceded by a brief drum solo episode to prepare the listener.

The composer’s ability to step outside the traditional formal logic (theme – improvisation – reprise) in the pieces where possible is commendable and justifiable. There is a well-maintained balance between the use of complex and simpler means of expression in the compositions. Although the album is conceptual and the parts of the cycle are interconnected, individual pieces can also function independently. In the context of the entire album, it is worth noting the composer’s ability to aptly illustrate what the piece’s title conveys with musical expressions. It is always intriguing to ponder what comes first in each individual case – the music or the title.

«A Known Universe» begins with a riff based on pleasing harmonies, gradually layering the main thematic material. This is the only piece where the pianist uses acoustic pianos – later, only electronic keyboards follow. The composition has a bright and almost lyrical sound, despite being very rhythmic and structured in complex time signatures. Kudos to the composer for creating beautiful and memorable melodies.

«Captured» is built on a bass ostinato in seven-four time. Although an instrumental piece, its structure somewhat resembles a song. The relatively calm overall mood of the flowing piece could be seen as a verse. This is followed by a «chorus» that becomes more powerful in terms of dynamics and energy. This leads to a guitarist’s improvisational section, before a brief collective improvisation phase ensues with no particular instrument standing out prominently.

While various rhythmic twists are woven into the music, the longest piece on the album, «Towards Light,» is presented in a quad setting – a territory where even less experienced listeners can somewhat follow along. The composition unfolds gradually, leading a few times to a chorus where a melody based on four colorful chords sounds majestic and lofty. A keyboard solo with kaleidoscopic harmonies creates a hazy and ambient atmosphere. Later on, Rudzinskis offers his improvisation on saxophone.

The album also features pieces with darker tones. The composition «Shadows Lurking» is characterized by dissonant and repetitive high-register electric keyboard sounds, reminiscent of a kind of Morse code. The chromatic melody plays a key role, creating a mysterious and enigmatic atmosphere. Upon closer examination, parallels can be drawn with the composition «The Chaos of Being.» This piece features a monotonous riff in terms of note selection, but rhythmically fragmented and angular – this time executed on the guitar in the low register.

«Into The Unknown» is a brief guitar solo episode that serves as an introductory piece, seamlessly transitioning (attacca) into the album’s title track, «Into The Abyss.» It’s delightful to listen to charming melody and harmony combinations with a skillfully used major chord variant (with lowered seventh and sixth degrees). The rhythmic group’s sound, with the low register and rhythmically active elements, presents an invigorating contrast with the singing melody.

«The Darkest Night» is a slow ballad-like piece that could be considered the quiet culmination of the entire cycle. The majority of the composition is occupied by a somber theme where long note values reveal elements of lamentation – slow, stretched, and melancholic melodic phrases. In the middle of the piece, a keyboard improvisation with atmospheric guitar sounds unfolds.

Among purely instrumental pieces, the only song with lyrics in the entire cycle, «Come With Me,» is also heard. Verbally unveiling the content, there is no longer a need for the musical material to be too complex. The ensemble plays a supportive role, briefly bringing the guitar to the forefront with an improvisation.

Although there are no separate drum and bass solo episodes in the compositions, their contributions can be enjoyed subtly within the context of the overall ensemble sound throughout. The groove of the drums stands out in the piece «Another Tomorrow,» as well as the masterful approach and interpretation of the bass in the composition «Believe.»

Rudzinskis’s compositional flair and potential for large-scale works were evident previously in collaboration with bass virtuoso and composer Kenneth Dahl Knudsen in the «Space Bigband» project. It is worth noting that in the presentation concerts of the «Abyss» album in Latvia, this program was performed with Knudsen accompanying the ensemble.