Boasting an impressive array of releases across a comparatively short period of time, Norwegian pianist Kjetil Mulelid continues his run of rapturously received projects with the release of ‘Agoja’.
Recorded in December 2022 across a three-day session in Oslo, despite Mulelid’s numerous albums as a bandleader and contributor amongst various ensembles, ‘Agoja’ surprisingly ranks as his second centre-stage outing.
Following his graduation in 2014 from Jazzlinja in Trondheim, Mulelid’s commitment to his music brought him to stages across the world including Europe and Japan, and quite soon after that, the pianist and composer started to set the stage for his galvanized musical vision. From his quartet Wako – currently with five studio albums to their name – to his Kjetil Mulelid Trio, his duo project alongside vocalist Siril Malmedal, Mulelid’s exploration and experimentation of the piano has led to some thrilling pieces of music indicative of his prodigal talents.
His initial solo project – the aptly titled ‘Piano’ in 2021 – really placed the pianist’s talents firmly in the deep end as his eleven-track album revolved solely around Muletid as a solo pianist with no accompaniment. An incredibly bold formal introduction, but one no less exquisite, as the undoubtedly challenging concept was executed with elegance.
Mulelid’s sophomore album release embraces the concept in the opposite way, this time, by inviting a variety of incredible and seasoned musicians to collaborate throughout ‘Agoja’: Forming a predominantly Norwegian and Norwegian-based ensemble throughout, trumpeter Arve Henriksen and violinist Selma French provide lush support for album opener ‘Alone’ which is as captivating a piece as the album could have presented at the outset.
The take on various arrangements throughout the album is also fascinating with some tracks pulling in a full line-up like ‘Heroes’ which unites Wako’s Bárður Reinert Poulsen and Martin Myhre Olsen with the Kjetil Mulelid Trio drummer, Andreas Winther; conversely, the more stripped down arrangement found within ‘Chapter, Ø’, featuring Lyder Øvreås Røed on trumpet, notes a particularly special inclusion as the interaction between Mulelid and Røed plays like an elegant conversation between piano and trumpet. And stripping it back even further is the albeit criminally short ‘Thousands of Lost Stories’ which features Mulelid’s beautiful playing unaccompanied providing a small taster for the treasures that await in ‘Piano’.
Providing the non-Scandinavian perspective for ‘Agoja’ is the inclusion of New York-based vibraphonist, Sasha Berliner, who adds her magic to the wistful ‘Waiting Song’, while the album closer ‘Kingdom, Slowly Disappearing’ marks a beguiling closing number punctuated by Mulelid’s haunting playing that will command repeated listens.
As Kjetil Mulelid’s star continues to rise, ‘Agoja’ will long stand as a sensational entry within his ever-expanding catalogue of music.
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