Lonely Man and His Fish Yelena Eckemoff

• 1 Lonely Man 06:15
• 2 Pet Store 07:10
• 3 First Evening at Home 06:32
• 4 Breakfast fro Two 03:43
• 5 Man and His Fish 05:58
• 6 Accident 04:51
• 7 In Hospital 07:14
• 8 Into the Wild 07:07
• 9 Life in the Pond 05:06
• 10 Survivor 06:55
• 11 Empty House 06:04
• 12 Song for Spark 09:01
• 13 Call of Friendship 05:07
• 14 Dreaming Together 06:12
• Total Runtime 01:27:15

Info for Lonely Man and His Fish

Pianist-composer Yelena Eckemoff’s body of elaborate, ambitious jazz concept albums reaches a new virtuosic summit with "Lonely Man and His Fish," to be released April 28. A double-album set, the album is also a long-form parable, a story of deep affection between a human and his beloved pet. An all-star lineup—cornetist Kirk Knuffke, flutist Masaru Koga, bassist Ben Street, and drummer Eric Harland—helps Eckemoff breathe life into the tale.

Eckemoff, who is an artist and poet as well as a pianist and composer, typically creates imagery and text to augment her programmatic music. In the case of" Lonely Man and His Fish," she outlines the concept as a prose narrative, broken down into short chapter-like sections that correspond to each track on the album, along with paintings that illustrate key moments.

Yet, as with all of her multidisciplinary projects, it’s the music that is front and center. “Every album I do is conceptual,” she explains. “At first I get an idea about a project, whether it’s stages of life, colors, smells, or animals. Once I get an idea, I don’t write out the story before the music. I have the story worked out in my head. When I compose, I already know how the story is going to come out.”

In a sense, the actual execution of the music brings in an aspect yet another creative discipline: theater. Knuffke and his cornet perform the role of Tim, the “lonely man” of the album title (who is a retired orchestral trumpet player). Koga wields a shakuhachi—a Japanese bamboo flute—to channel the character of Spark, Tim’s fish and companion. Each has impressive solo features, like Knuffke’s on “The Lonely Man” and Koga’s on “Life in the Pond.” But the two musicians also exchange and interact beautifully on tunes like the funky “A Man and His Fish” (on which Yelena plays celeste, the first time she’s recorded on anything but piano in a studio setting) and the warm, fond closer “Dreaming Together.”

Not to be dismissed, however, is the strength and empathy of the splendid rhythm section. Eckemoff, Street, and Harland bring remarkable alchemy to “First Evening at Home” and “Into the Wild” and a startling urgency to “Accident,” but also treat “Empty House” and “Survivor” with elegance and sensitivity.

"Lonely Man and His Fish" comes from Eckemoff’s narrative, but ultimately it’s the product of five ingenious storytellers.

Yelena Eckemoff was born and raised in Moscow—capital of what was then the Soviet Union—where she started playing by ear and composing music when she was four. She would go on to study classical piano the most prestigious music academies in Russia: the Gnessins School for musically gifted children, where she was a protégée of the great piano pedagogue Anna Pavlovna Kantor, and then the Moscow State Conservatory.

Gradually, however, Eckemoff’s ears wandered beyond her classical training; fissures in the Iron Curtain allowed her to discover first rock, then jazz. When she saw Dave Brubeck’s performance in Moscow in 1987, she settled on jazz as her permanent musical path.

That path turned out to run through the United States, where Eckemoff immigrated in 1991 and settled in North Carolina. Now ensconced in the country that gave birth to jazz, she went in search of players who could do justice to her intricate ideas.

The search was a long and sometimes frustrating one, but it paid off when she was able to work with the likes of bassist Mads Vinding and drummer Peter Erskine on her 2010 album "Cold Sun." That project opened the door to "Grass Catching the Wind" and "Flying Steps," collaborations with Vinding and Erskine, respectively; those, in turn, opened the door to a full and prolific career. Subsequent collaborators have included Mark Turner, Joe Locke, Billy Hart, Chris Potter, Ralph Alessi, Drew Gress, and Nasheet Waits along with Knuffke, Koga, Street, and Harland. Her unique, sophisticated, and highly expressive music continues to draw support and creative energy from the finest musicians in the world.

"So, if you too love the beauty of art, music that speaks as much to your heart as to your soul, you will understand why the Paris-Move and Bayou Blue Radio editorial teams have classified this album in the category of “Indispensable”." (paris-move.com)

Yelena Eckemoff, piano, Fender Rhodes, vintage Ampli-Celeste
Kirk Knuffke, cornet
Massaru Koga, Japanese flutes
Ben Street, double bass, electric bass
Eric Harland, drums, percussion

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.

Booklet for Lonely Man and His Fish