Marína Ósk
The Moon & The Sky
We cover a lot of music here at PPMB, and we’re so thankful for the artists we’ve come across and what they’ve taught us. If you’re a regular here, you know that I (Taylor) toured a lot in the 90’s and early 00’s in a pop and rock setting and play a lot of country here in Nashville now, but I’ve also played jazz for over 30 years and it is by far my favorite genre (and the one I fear the most). I am in awe of any Jazzer who can pull off a standard with a new twist, let alone compose a compelling one. Marína Ósk is exactly that type of artist who has my utmost respect - as a composer, singer, instrumentalist and professional.
From her bio, she “has spent the best part of the last 10 years studying jazz in Amsterdam (CvA, class of 2017) and Stockholm (KMH, class of 2021), during which time she dug deep into the jazz tradition, the jazz language and the “American Songbook” - a musical place where she found her home as an artist and a composer. (She’s) toured the Nordic countries, played at the Reykjavík Jazz festival, Oslo Jazz Festival, the Nordic Jazz Comets showcase, as well as playing various concerts all over Europe.” This education and experience comes to light as soon as you dive into the tracks of this record. Excuse me while I fan-boy over this release - it’s amazing. Here’s my review of “The Moon & the Sky,” from her album “One Evening in July.” The name of the album is taken from a line in the first verse.
This is a daring composition and arrangement. With just three instruments - a double-bass, muted trumpet, hollow body guitar - and her voice, it requires every progression and movement to be tactical and fluid at the same time. Every measure hangs by a thread, connected elegantly by Marína’s melody, tone and delivery. Lyrically, it’s just the type of story you would expect from the genre - a hopeful love song filled with massive imagery, passionate emotions and a melody synonymous with the Gershwin brother’s work.
The first section (a verse) is based around a chord-melody progression on the hollow body, before the bass and trumpet jump gently drop in to set up the chorus (“What they don’t understand, what they can’t comprehend….). The chorus section has an implied back beat, while the verse, naturally, does not. Even before the trumpet solo comes in, the recording has us thinking of Chet Baker’s 1954 release, “Chet Baker Sings” in terms of its beautiful arrangement - but its the quality of the recording and Marina’s vocals that make this recording and composition so fresh. Her pronunciation and tone is perfectly inline with todays’ greats, if not cleaner (sorry, Diana K.). I might be wrong, but I think she pulls some inspiration from Norah Jones, Monica Zetterlund and maybe even a little Sara Bareilles. She has a beautiful lower scoop around G3, and is clear as a bell around C5. The delivery is so good, you’d never know it’s her second (or third or fourth) language. It’s also quite fun to listen to her sing in Icelandic, knowing that I don’t know a damn thing about that language. The trumpet solo that begins around 3:25 is delicate and sublime. The muted tone, note choice (nice triplets) and phrasing are masterful. The bass and guitar accompaniment add just enough embellishment and pick-up to keep it gently flowing along, before Marína comes back in to take it home with another chorus. The final refrain includes a beautiful breakdown to the chord-melody approach that opened the song - creating the perfect reflective and hopeful ending to this gorgeous love song.
The track was produced by Marcus Sjöberg, with Erik Tengholm on trumpet, Mikael Máni Ásmundsson on guitar and Johan Tengholm on double-bass. Brilliant playing, gentlemen! It would appear (from her socials) that these are mainly university friends from her studies in Amsterdam and Stockholm. I’ll guess and say it was recorded in Stockholm, which doesn’t get enough credit for its influence on jazz. Mr. Sjöberg has definitely done his homework on tones.
Make sure you scroll down to catch her other socials and spend an afternoon with this record. “Hey Love,” a single she released earlier this year should be shoved into the Sixth Edition of your copy of the The Real Book (page 178, right before “Hot Toddy”). It’s that good. “‘Deed I Do,” a recording of the 1926 standard from Rose & Hirsch is impeccable in presentation. A great deal of her music is sung in Icelandic, which makes it all the more compelling and beautiful.
Wow, Marína, absolutely beautiful work. We hope all your dreams come true with this project - the world needs composers and artists like you. If you ever make it to Nashville, you’ll have to play Rudy’s (sadly, the “only” jazz club in town). Promise me that you’ll do a whole set of originals in Icelandic. ;)
Check it out now!
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