Elina Duni Quartet
It’s always tempting to second guess a label or make sweeping generalisations about their output. Labels with a big release schedule and eclectic tastes, such as ECM’s, regularly by their ambition prove the absurdity of such dragooning of music into neat little phrases. Of course, that’s not to say that everything is individual, again a fairly ludicrous attitude, but certainly this release by the Elina Duni Quartet is unusual. Singer Duni born in the Albanian capital of Tirana in 1981, sings mournfully over a dozen songs on the album, the title of which means ‘Beyond the Mountain’, several of which mine the fairly unknown folk music of her native land. Her Swiss husband Colin Vallon’s trio (its personnel changed now since their Albanian-influenced album Rruga with the trio’s longstanding drummer Samuel Rohrer replaced here by Norbert Pfammatter) is a typically modern European style very quiet piano trio that we’re accustomed to since Tord Gustavsen’s rise to prominence. So it’s library-like in the level of contemplation at play. Duni came to Switzerland in the early-1990s and it’s her collision with the world outside the formerly closed country of Albania through her music that makes this album startling. The quartet has released hard to find albums Baresha and Lume Lume for the tiny Meta Records label which I’ll seek out as clearly the music here on the new album is mature and deepy considered and the journey the musicians have made would be interesting to trace. Patrice Moret, the quartet’s bassist, holds the key to much of the integrating of vocals and trio on Matanë Malit, and it’s clear that Balkan folk songs have rarely sounded so ancient seen through the lens of a very modern artist in Duni.
Elina Duni Quartet, pictured above