Scenes from the Dark Ages Yelena Eckemoff

• 1 Pilgrims 05:38
• 2 Village Tavern 05:18
• 3 From Peasants Life 05:41
• 4 Spell-bound Fortress 10:37
• 5 Monks in Scriptorium 06:56
• 6 Cathedral 05:30
• 7 Legends of the Castle 11:05
• 8 Adventures of a Knight 09:42
• 9 Battle 04:45
• 10 Chivalry 05:29
• 11 Tournament 06:03
• 12 Masquerade 04:25
• 13 Alchemist 08:35
• 14 Quest 09:16
• 15 From the Life of the Lords 05:58
• Total Runtime 01:44:58

Info for Scenes from the Dark Ages

"This is clearly an ensemble effort. Yes, all the music comes from Eckemoff’s pen, but the narrative qualities seem to have required an expanded sonic palette to be realized. Like Chick Corea’s forays into storytelling (think Romantic Warrior), this isn’t just an album consisting of songs but one made up of melodic threads that connect the roles and varied movements. This isn’t a jazz album, per se, although improvisation, instrumental skill and the occasional groove permeate. Riccardo Bertuzzi’s electric guitar forays recall Corea’s own sonic designs, along with the rapid-fire deliveries that come from Trilok Gurtu’s uniquely combined percussion and drum work. The groove doesn’t drive the music, which feels more orchestrated. And yet, as Eckemoff says about the project, “I didn’t want just guitar and bass, I wanted rock guitar and electric bass and really strong drums.” In other words, more of a prog-rock feel — in this case, tapered more to melodic expression instead of a driving beat. The flute playing of Carlo Nicita goes a long way furthering this particular approach. “Monks In Scriptorium,” for example, seems to inevitably lead to Nicita’s evocation of the song’s mood of mystery and tranquility. Likewise with the aptly titled, solemn “Cathedral,” Eckemoff’s sonic palette coursing throughout. Indeed, Scenes From The Dark Ages surfaces as a realized childhood dream of her “Medieval Symphony." (John Ephland, Downbeat)

"Infusing spellbinding progressive rock and jazz with a Medieval concept and delivered by a top-tier ensemble, Scenes From The Dark Ages immerses the listener in a nearly-two-hour surrealistic and spellbinding experience." (Earsplit)

Yelena’s newest album is not a rendering of early-music tropes in modern jazz feels. Rather, in her writing on this album Yelena synthesizes classical music constructs and her original melodies with the varied rhythmic and stylistic innovations of jazz, fusion, and world music from the 21st century. Beyond this, she invests each moment of the album with her own sense of delight in leading and performing this unique material. (Suzanne Lorge)

Yelena Eckemoff, piano, organ, clavichord, celesta, synthesizer
Riccardo Bertuzzi, electric guitar
Carlo Nicita, soprano, alto, and bass flutes
Eloisa Manera, acoustic and electric violin
Riccardo Oliva, electric bass
Trilok Gurtu, drums, percussion

Recorded in August 2023 at Digitube Studio in Mantua, Italy
Recorded, mixed and mastered by Carlo Cantini

Yelena Eckemoff
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.

This album contains no booklet.