Maria Schneider and Oslo Jazz Ensemble

Barbican Hall, London, 2 March 2025

by John Earls. Photo credits (c) John Earls

Maria Schneider is a distinct force. A passionate advocate of musicians’ ownership rights (she releases her work on the crowd-funded ArtistShare label), a campaigner on the threats of unchecked technology and an enthusiast for the power of nature. She is also an outstanding jazz big band composer and arranger, recording a number of superb albums with her own orchestra.

Much of this came together in this performance with the Oslo Jazz Ensemble of pieces from her remarkable 2020 Grammy award winning album Data Lords (also a Pulitzer Prize for Music finalist).

The double album (below) presents a suite of 11 pieces as two distinct discs, The Digital World (reflecting the dangers and threats it entails) and the more redemptive Our Natural World and it is sequenced in that order, reflecting a potentially optimistic outcome.

Incidentally it is also worth making the point that her releases are amazing artifacts in themselves, beautifully packaged with stunning artwork and photos as well as invaluable sleeve notes by the composer (almost like mini essays). They are not available for streaming.

However, for this performance the order of the selected pieces flipped between both worlds. At first this seemed somewhat counter to the narrative of the album. Ultimately, I think it reflects the constant battle between the two worlds which is arguably a better representation of reality.

Consequently, rather than starting with an introduction to a dystopic digital world, the set opened with a beautiful Bluebird with gorgeous solos on alto saxophone and accordion. Schneider’s use of and writing for the accordion is one of her most distinguishing and moving musical features.

However, darkness beckons, as we go into Don’t Be Evil, a takedown of Google’s now abandoned motto – “I guess they couldn’t reach that high bar” mocks Schneider. The sometimes sinister brass was reminiscent of Charles Mingus.

The worrying digital world continued in Sputnik, an “imagining of the digital exoskeleton” of stellar satellites representing humanity. It was sombre, eerie and contemplative, and featured some wonderful solo baritone saxophone playing by Tina Lægreid Olsen. The gently flashing stage and auditorium lights added to the atmosphere.

A mood of a different kind came with Look Up featuring mellow solo trombone, another instrument that Schneider writes brilliantly for. In the album notes she explains that she wrote the piece to feature trombonist Marshall Gilkes (who performs it on the album) inspired after thinking about his “sound, expression, range and facility”. Magnus Murphy Joelson played the piece admirably here.

Next up is CQ CQ, Is Anybody There?, inspired by Schneider’s avid radio ham father. The title is a reference to his ‘callsign’ and the piece uses Morse code for its rhythms (except for a recurring saxophone line). The album notes include a great story about her Dad’s radio ham QSL card: “The internet when used for honest human connection, is indeed incredible”. There was that ominous brass again with Magnus Murphy Joelson on tenor saxophone desperately seeking meaningful connection only to find AI represented by Richard Köster on trumpet (with electronics).

This was followed by The Sun Waited for Me. Inspired by a poem from Ted Kooser’s collection Winter Morning Walks: One Hundred Postcards to Jim Harrison, the music and saxophone solo (Atle Nymo) reflect an optimism and opportunity that provides the conclusion to the album. However, this particular set finishes with the darker Data Lords – “At the end of this piece we no longer exist” says Schneider – the trumpet heralding, well, who knows what?

Except, of course, Schneider returns for an encore – “I don’t want to leave on annihilation”. Braided Together is another piece inspired by a Ted Kooser poem and Schneider dedicates it to a number of couples in the audience celebrating wedding anniversaries and long marriages. Its warm tone and mellow alto saxophone ensure the audience leaves on a more comforting note. But only after giving a well-deserved ovation to this exceptional composer, arranger and conductor, and an orchestra completely in tune with her unique talent.

The full line-up for the Oslo Jazz Ensemble, directed by Maria Schneider, is as follows:

Børge-Are Halvorsen (alto saxophone, flutes), Joakim Bergsrønning (alto saxophone, flutes and clarinet), Atle Nymo and Martin Myhre Olsen (tenor saxophone), Tina Lægreid Olsen (baritone saxophone, bass clarinet), Frank Brodahl, Marius Haltli, Richard Köster and Anders Eriksson (trumpet and flugelhorn), Even Skatrud, Nils Andreas Granseth and Magnus Murphy Joelson (trombone), Ingrid Utne (bass trombone), Jørn Oien (piano), Kalle Moberg (accordion), Jens Thoresen (guitar), Trygve Waldemar Fiske (bass), Håkon Mjåset Johansen (drums), Thor-Ivar Lund (sound engineer)

John Earls is Director of Research at Unite the Union. He posts on Bluesky and tweets / updates his ‘X’ content at @john_earls

To read more about Maria Schneider, click to visit her website, and click on the name to read more about the Oslo Jazz Ensemble

Published post no.2,462 – Monday 3 March 2025