Home » Jazz Articles » Album Review » Sahara von Hattenberger: 1Q84

Sahara von Hattenberger: 1Q84

Canadian cellist Sahara von Hattenberger makes a bold statement with her debut 1Q84. Inspired by Japanese author Haruki Murakami's famous novel of the same name, the double album consists of an interpretation of composer Claude Bolling's "Suite for Cello and Jazz Piano Trio" and four commissioned pieces that are, thematically, in the same vein.

A buoyant atmosphere permeates the opener, "Baroque in Rhythm," as von Hattenberger and pianist Joanne Kang duet with facile grace. Both come from a Western classical background, hence some of their synergy. As drummer Jim Doxas and bassist Adrian Vedady enter, the tune's effervescence increases. The latter takes a lyrical solo before the movement closes.

Kang and von Hattenberger infuse the wistful "Concertante" with a bluesy flavor. Their exchanges crackle with spontaneity and elegance. The bass and drum duo adds a nocturnesque romanticism to the ensemble play. Kang's cascading keys chime with bittersweet tones while von Hattenberger's resonant phrases move with their emotional depth and subtle poetry. As the tempo increases, Kang's energetic pianism hints at stride stylings, while von Hattenberger showcases her mastery on her instrument with agility and panache.

The suite's finale, "Cello Fan," features von Hattenberger weaving intricate, mellifluous threads through the trio's restless refrains. Kang's breathtaking arpeggios match Doxas' suave polyrhythms and Vedady's fast walking basslines. The quartet performs the engaging recurrent motifs with subtlety and vibrance, making this a lively and captivating interpretation of Bolling's work.

Saxophonist Remy Le Boeuf's "Air Chrysalis" has an East Asian motif. Over Doxas' percolating beats, von Hattenberger plays the melancholic melody. Kang's block chords punctuate the cellist's performance to a dramatic effect. Vedady maintains a darkly hued undercurrent that gives the track another intriguing layer.

Composer Malcolm Sailor's haunting "Night Path" starts off with sparse notes from all four band members echoing in silent pauses. Von Hattenberger's lilting cello floats over understated rhythmic flourishes. The music alternates between this quietude and passages with an up-tempo, swaggering cadence. Kang, again, demonstrates her signature virtuosity and von Hattenberger goes brilliantly from soft, lullaby-like serenity to muscular, energetic melodicism.

The exuberant yet tense "Rondo Squilibrato" that the composer Jeffrey Fong penned matches Kang's rapid-fire, percussive, notes with Doxas' thunderous drums. The angular conversation among von Hattenberger, Kang and Vedady at times flirts with dissonance, making it a cinematic and apt conclusion to this engaging recording. 1Q84 is an auspicious start to von Hattenberger's career and, hopefully, one that will set the tone for more brilliance to come.