Better Than Gold and Silver Yelena Eckemoff
- Vocal Versions:
- 1Psalm 131 Vocal04:31
- 2Psalm 119 Teth Vocal05:04
- 3Psalm 119 Nun Vocal05:00
- 4Psalm 110 Vocal07:09
- 5Psalm 119 Lamed Vocal05:14
- 6Psalm 126 Vocal06:00
- 7Psalm 58 Vocal04:40
- 8Psalm 119 Jod Vocal07:32
- 9Psalm 119 Zain Vocal06:14
- 10Psalm 147 Vocal12:37
- Instrumental Versions:
- 11Psalm 131 Instrumental07:04
- 12Psalm 119 Teth Instrumental06:05
- 13Psalm 119 Nun Instrumental06:13
- 14Psalm 110 Instrumental08:43
- 15Psalm 119 Lamed Instrumental06:09
- 16Psalm 126 Instrumental06:43
- 17Psalm 58 Instrumental07:55
- 18Psalm 119 Jod Instrumental07:58
- 19Psalm 119 Zain Instrumental07:52
- 20Psalm 147 Instrumental13:20
Info for Better Than Gold and Silver
The only real surprise at this stage in Yelena Eckemoff’s unique, super-prolific career would be if the Russian-born pianist-composer made new music that didn’t surprise.
But even by that standard, Yelena Eckemoff’s double album, Better Than Gold and Silver, on which she sets biblical psalms to music, is an amazement: Each disc of Better Than Gold and Silver consists of ten selections, presented in identical order. The first disc features Eckemoff with vocalists, the second disc consists of instrumental versions by the same ensemble, different takes with longer solos in which the vocal lines are given to the various instruments. The gorgeous clarion tone of Alessi’s trumpet spreads joy through a “songs without words” approach. Floating on Eckemoff’s glistening lyricism at the piano, which draws from her classical training as well as jazz, blues, gospel, and pop, the music is remarkably open and lit from within, seemingly inspired by Psalm 119: Thy word is a lamp unto my feet, and a light unto my path.
Though Eckemoff has long played religious music in church, she says: My musical settings of the Biblical Psalms do not belong to the oeuvre of Christian music. It is rather a work of modern jazz.
Yelena Eckemoff, piano
Tomás Cruz, tenor
Kim Mayo, mezzo-soprano
Ralph Alessi, trumpet
Ben Monder, guitar
Christian Howes, violin
Drew Gress, bass
Joey Baron, drums
was born in Moscow, Russia, in the Soviet Union. Her parents noticed that she had musical talent when she started to play piano by ear at the age of four. Yelena’s mother, Olga, a professional pianist, became her first piano teacher. At the age of seven Yelena was accepted into an elite Gnessins School for musically gifted children where, in addition to common school subjects, she received extensive training in piano, music theory, music literature, solfeggio, harmony, analysis of musical forms, conducting, composing, and other musical subjects. She was fortunate to study piano with Anna Pavlovna Kantor, who also trained one of today’s most celebrated pianists, Evgeny Kissin. Later Yelena studied piano with Galina Nikolaevna Egiazarova at the Moscow State Conservatory. Upon graduation with Master’s Degree in piano performance and pedagogy, she worked as a piano teacher in one of Moscow music schools, gave solo concerts, attended courses at the Moscow Jazz Studio, played in an experimental jazz-rock band, and composed a lot of instrumental and vocal music.
In 1991, with her husband, Yelena emigrated to the United States. While assimilating and surviving in a new country and raising children, she had to put her musical career on hold. During these years Yelena experimented with synthesizer and MIDI sequencer in her little home studio, then founded an ensemble of local musicians. She self-released albums in various genres including classical, vocal, folk, Christian, and her original music.
She recorded her first jazz album, COLD SUN, in 2009, accompanied by drummer Peter Erskine and Danish bassist Mads Vinding, which proved to be the major turning point in her jazz career. Cold Sun was names one of 15 best jazz CD releases of 2010 by Warren Allen (AAJ) and drew comparisons to the stark music of ECM Records.
From that point on, Eckemoff churned out compelling and focused jazz albums at an astounding pace; she recorded and released four more piano trio records in less than four years engaging such notable jazz musicians as Mads Vinding, Morten Lund, Mats Eilertsen, Marilyn Mazur, Darek Olezskiewicz, Peter Erskine, and Arild Andersen. FORGET-ME-NOT (L & H, 2012) was in the best 10 on CMJ charts for over 10 weeks. “Themes of nature, sounds of isolation, stark settings, and blurred lines between compositional and improvisational elements are visible on all of Eckemoff’s trio dates, but no two records sound exactly the same.” (John Kelman)
For GLASS SONG (L&H, 2013), she reenlisted Erskine and brought bassist Arild Andersen into the fold for the first time. Surprisingly, neither veteran had ever recorded together, but you would never know it. “Eckemoff, Andersen and Erskine create music that’s focused, yet free floating, and open, yet never nebulous. Pure melody is of less importance than the greater narrative in each number, but the music still sings out with melodic grace. While Manfred Eicher and his storied label have nothing to do with this record, Glass Song has that “ECM sound,” if ever it existed. Mystery, blooming musical thoughts and vaguely haunting notions are at the heart of this captivating album.” (Dan Bilawsky)
Yelena Eckemoff ‘s Lions (L&H 2015), with bassist Arild Andersen and drummer Billy Hart is a long but comprehensive look at animals in the wild with human touches, a classical-jazz soundtrack that goes beyond the superficial, intermission grabs for attention and seeks out the feelings beneath the eerily accurate movements.
“EVERBLUE (L&H, 2015) has Arild Andersen, saxophonist Tore Brunborg and drummer Jon Christensen. This Norwegian all-star contingent fits beautifully into Eckemoff’s aesthetic: Andersen with his looming pronouncements like final summations; Christensen with his suggestive rhythmic ambiguity; Brunborg with his clear, clean sound and respect for space. Glass Song, Lions and Everblue contain some of the most powerful, poetic work of Andersen’s long career.” (Thomas Conrad)
“LEAVING EVERYTHING BEHIND (L&H, 2016) is united around themes of departure and loss. Yelena wrote a poem for each piece and made the cover art. She is accompanied by violinist Mark Feldman, whose background is in classical and country music. Several of compositions date from the 1980s; a time when she was just beginning her exploration into jazz. These pieces seem highly refined, replete with airy, vague harmonies that refer equally to Bill Evans and Claude Debussy.” (Mark Sullivan)
BLOOMING TALL PHLOX (L&H, 2017) is intended to evoke different scents that Yelena Eckemoff recalls from her childhood in Russia. These powerful smells trigger a myriad of magical memories, each of which somehow, is transformed into a moveable feast of sounds – melodies set free by Yelena Eckemoff on a gloriously tuned piano and harmonized by Verneri Pohjola, a Finnish horn player, together with Panu Savolainen on vibraphone, Antti Lötjönen on bass and the percussionist colorist Olavi Louhivuori.
Although jazz is associated with improvisation, Eckemoff often writes her tunes out. Her music has been described as classical chamber music in the context of improvisational jazz. She developed a highly acclaimed jazz style that incorporates her classical technique and influences very effectively. With each new record Eckemoff’s distinctive, recognizable approach to melody becomes even more prominent. Yelena Eckemoff uses life and nature’s bouquets as her muse to create the body of work that blends post-modern abstraction, classical thought, and jazz language into a seamless whole. True to her classical-jazz impressionism, Eckemoff sees humanity in nature.
A band leader, producer and co-founder of L & H Production record label, Yelena also gives piano lessons. She had served as a church musician and choir director for over 22 years, until she got too busy with her recording and performing schedule. Yelena believes in hard work, God’s guidance, humanism, and eternal love.