Martin Stender (sax)
Henrik Olsson (gui)
Jeppe Skovbakke (bass)
Sean Carpio (drums)
German Bio Press release ‘Night Repair – Slow Stone’ here.
Album review: Lira Musikmagasin (Feb 2019):
A Northern European Sound Wall.
Between concerts and recording with his successful band Girls in Airports, composer and saxophonist Martin Stender decided to launch his solo project. Soon he was writing tunes for this, but discovered on the way that he would need a set of peers to work with. So it turned into a band and the 4tet Night Repair was born.
The name must be inspired by a skin lotion but the album title is nice and simple: 1st Album.
It is a vibrant post rock jazz chaotic sound wall and they really vary their sound. At times, the changes are so dramatic that I start to think that Night Repair wants to crack as a live orchestra to an abstract circus theater. It is loud and it is low on every possible plan. 1st album from Night Repair is both expanding the senses and a highly interesting debut album. -Lira Musikmagasin http://www.lira.se/skivrecension/1st-album/
Concert review in Kiel Nachrichte (Feb 2019).
Danish jazz quartet Night Repair in Lutterbek
“I want to overwhelm listeners with elements as simple as possible”, says danish saxophonist Martin Stender about his new project Night Repair. Together with Henrik Olsson (guitar), Jeppe Skovbakke (double bass and electronics) and Sean Carpio (drums) he managed this all the way in the well attended Lutterbek.
Martin Stender blows his saxophone with lots of air.
The “overwhelming” in the opener Mystic Stuff, does not sound quite as brutal as the word, rather strangely gentle. Stender blows his saxophone with lots of air. This creates a rough, but also brittle sometimes spheric sound. As hovering as it is between what is already and what is not yet, it still rests on the foundation of a firmly grounded synth-bass organ point. This contrast is indeed overwhelming to exhilarating, especially as Heto Dwell creates another contrast – between fairly simple riffs and loops on guitar and bass, versus an increasing rhythmic and tonal build up that reaches to the limit of the chaotic. The other pieces, too, oscillate between earthly heaviness and spherical lightness, highly complex and minimalistically reduced structures.
Even when sometimes, as in Tilulli, a classic swinging rhythm emerges, just to immediately disappear again into a staggering standstill, that is far removed from the conventional jazz idiom. Or rather: it adds elements that are familiar from electronic ambient sounds and New Music. Especially the sound research of the latter is carried over by Night Repair. This is how Krom 1 plays out, with a very limited sound range. Everything revolves around a single standing central sound, which is constantly changing in its timbre. Not only because of the Indian accordeon Stender plays here next to the saxophone and after which the piece is named, this sounds quite like a mantra.
“Overwhelmed” and transposed into sound hypnosis, the listener is woken up in the end with the short and flush Jump Shot as well as C / B, which drummer Carpio feats with a tricky solo. So what have we just been dreaming about? – Maybe even the birth of a new form of jazz.
‘Original and breath taking’: http://jazznyt.blogspot.com/2018/06/night-repair-1st-album-mawi-music.html