Review Summary: A slow burn
Much can be said for music that shows restraint, yet demonstrates a genuine desire for growth. It is especially rewarding to be able to make personal connections with this music rather than have them thrust upon you in such a way that they were
intended. At this moment, I am speaking specifically about instrumental jazz that is able to beckon you down its meandering path, but also encourages you to occasionally stray, perhaps for minutes at a time.
Bamboo is a lovely hidden gem crafted by two Belgian musicians -- pianist Hendrik Lasure and drummer Casper Van De Velde -- who record together under the moniker SCHNTZL.
Bamboo is primarily jazz-influenced and features little more than piano melodies accompanied by what seems to be improvised drumming, and I say that speculatively. The drumming is very unpredictable, and it seems as though Van De Velde is feeding off of Lasure for most of the album, and the trade-off is fascinating. Van De Velde, for such a promising drummer, shows a great deal of discretion, never overwhelming the pianist. He only occasionally shows off, and it is worth the wait, further exemplifying the rewards of a slow burn. "Transitions" is the longest track on the album at eleven minutes, and demonstrates a stunning buildup. The first half of the song is ambient, and is uncertain in delivery. As the song begins to flourish, the melody becomes more invigorating, but never quite conclusively happy. "The Wolves" (Bon Iver cover) is perhaps more definitive, as the tone is much more mournful. Things get progressively more passionate, and the melody towards the end seems genuinely despairing, but still inconclusive, continuing the theme of interpretation. The song could easily serve as the soundtrack for coming to terms with a personal shortcoming or, just as likely, the backdrop for relentless sorrow.
Despite their stripped down approach, SCHTZL occasionally utilize more experimental elements to intrigue the listener. While these are mostly well-placed, such as the looping effect at the beginning of "Tot Hier Was Ik Gekomen", they are sometimes used quite poorly. The obnoxiously titled "WILDE_BEEEEEST" features a sample from the Fresh Prince of Bel-Air theme song, and it detracts from the otherwise pleasant instrumentals. However, this is a minor awkward sidestep, and it becomes fleeting once the closer "Mangomundo" reigns the listener in. "Mangomundo" will feel very familiar to seasoned jazz fans, as it is easily the most 'straightforwardly jazz' song on the album. While the song features various melodies and rhythms that are easy to appreciate in their free-spirited nature, it feels like an odd choice of a closing track for
Bamboo. The song is no doubt satisfying, but the wind-down is somewhat underwhelming when compared to the excellent use of build-ups in previous tracks.
Bamboo is an impressive jazz debut, and shows great potential. Though SCHNTZL have yet to master an album that can capitalize on its strengths, they show a willingness to grow that will inevitably pay off as they continue to discover themselves.
