Kaisa’s Machine, Moving Parts Review

Kaisa’s Machine: Two Cities Make Moving Parts

By Nolan DeBuke

Kaisa Mäensivu’s third album with Kaisa’s Machine, Moving Parts, presents jazz composition and performance at the intersection of Nordic and New York jazz traditions. This release offers a fertile ground for Mäensivu methodical approach to structure, texture, and rhythm.

Moving Parts is a sonic dialogue between two cities of sound, Helsinki and New York, each with distinct musical identities. Mäensivu’s compositions are a cohesive mix of these sounds in a forward-moving process. The album is enticing in its rhythmic patterns, harmonic colors, and orchestration

From the first track, “Tykytys,” Mäensivu sets the tone with a syncopated bass line that is the piece’s rhythmic anchor. What stands out here is the way the bass functions as a harmonic foundation and a rhythmic guide. Mäensivu employs a playing style that allows her to ripple across the form while still maintaining a sense of forward motion. This technique of rhythmic storytelling is mirrored in the vibraphone work of Sasha Berliner, whose shimmering textures and call-and-response interactions with the rhythm section add to the track. The rhythm section, with Joe Peri on drums and Eden Ladin on piano, keeps the groove fluid while interacting with subtle shifts in dialogue of tension and release.

The interplay between Ladin’s piano and Max Light’s guitar offers another rhythmic layer. Ladin provides a sophisticated harmonic landscape, often playing off the modal movement of the piece, while Light’s guitar improvisations introduce angular phrases and effects that contribute to the piece’s energy and expression. The contrast between straight-eighth rhythmic elements and swing-like syncopation forms a seamless hybrid, giving the track a forward momentum that is groove-oriented, the tale of the two cities.

Mäensivu’s compositional skill is evident throughout the album. In “Midnight Sun,” for example, she employs a harmonic structure that is expansive but never predictable. The track’s modal shifts provide ample space for improvisation, with Berliner’s vibraphone providing an ethereal backdrop to the rolling bass lines and shifting piano voicings. The harmonic movement remains fluid throughout, with each soloist pushing against the harmonic constraints set by the composition, contributing to the piece’s sense of forward motion and color exploration.

In “Origin Story,” Mäensivu’s writing takes on an energetic form, the ensemble unfolding a harmonic and rhythmic story. Melissa Aldana’s tenor saxophone enters as an improvising character, bringing an additional layer of intensity with her fiery, unpredictable improvisations. Aldana’s soloing style is firmly rooted in the tradition of New York, where extended harmonic language and rhythmic fluidity are the primary tools for expression. The rhythmic interplay between Aldana and the rhythm section during her solo is all about timing, tension, and release. Peri’s drumming provides just the right amount of drive to support her without overpowering the phrasing.

The ensemble’s instrumentation enhances the overall sound. The absence of traditional horn sections or additional brass allows each instrument’s voice to make a significant contribution. The vibraphone often takes center stage, adding an element of lightness and warmth while playing an active role in harmonic development. Berliner’s vibraphone work is meticulous and engaging, especially during the improvisational sections where her exchange with the rhythm section becomes an integral part of the piece’s emotional and harmonic growth.

Light’s guitar work on Moving Parts adds another layer of intrigue, especially in tracks like “Who’s Asking?” where his use of effects, particularly reverb and delay, contributes to the track’s spatial quality. His phrasing is simultaneously crisp and atmospheric, creating a contrast with the more grounded, rhythmically intricate bass and drums. The interaction between guitar and vibraphone creates an open, sonic landscape where harmonic color is as important as rhythmic structure.

The overall form of Moving Parts speaks to Mäensivu’s ability to weave frameworks that depart from the typical head-solo-head structure. Her compositions focus on the ensemble’s collective potential for layering. This is particularly evident in tracks like “Satama (Harbor),” where Maja Mannila’s vocals introduce a narrative quality to the piece. The looped bass lines in this track serve as a modal foundation that supports Mannila’s vocal improvisations, allowing the composition to breathe without becoming tethered to a conventional form.

These modern jazz compositions place equal emphasis on the collective written parts and the improvisational parts. Each piece has defined rhythmic figures allowing each musician to contribute to the narrative. Moving Parts is a standout example of Kaisa Mäensivu’s leadership as a composer and bassist. From the carefully crafted compositions to the intuitive interplay between her and the ensemble members.