Johan Budi
The Evolution of the Weejuns Trio and the Release of Bitches Blues
Norwegian guitarist Hedvig Mollestad, frequently credited as Hedvig Mollestad Thomassen, has solidified her reputation as a formidable force in the European jazz-metal landscape. Her latest offering, Bitches Blues, released via Rune Grammofon (RCD2238), serves as the sophomore effort for her Weejuns trio. This ensemble, consisting of Mollestad on electric guitar, Ståle Storløkken on organ and synthesizers, and Ole Mofjell on drums, follows the group’s eponymous debut released in 2023.
While Mollestad is widely recognized for her work with the Hedvig Mollestad Trio—a unit known for its riff-heavy "power trio" approach—the Weejuns project represents a more expansive, organ-driven exploration of sound. Bitches Blues arrives shortly after her 2025 release Bees In The Bonnet, indicating a highly prolific period for the guitarist. Unlike the more exploratory and perhaps tentative nature of the trio’s first album, Bitches Blues is characterized by a newfound cohesion and a bolder, more assertive sonic palette.
The title track, "Bitches Blues," immediately establishes the album’s aggressive intent. It features a dense, distorted interplay between Mollestad’s guitar and Storløkken’s organ, underpinned by Mofjell’s tumultuous drumming. Critics and musicologists have noted the stylistic parallels to the early era of the Tony Williams Lifetime, specifically the high-voltage chemistry between John McLaughlin and Larry Young. This "take no prisoners" approach is balanced by tracks like "Kompet Blir," which utilizes a stately march tempo and space-oriented extemporizations reminiscent of early Pink Floyd. The album concludes with "Recollection Of Sorrow," a piece that emphasizes Mollestad’s melodic sensitivity and Storløkken’s ability to generate deep, resonant bass lines through his organ work.
Kevin Figes and the Revitalization of the Canterbury Sound
In the United Kingdom, Bristol-based multi-instrumentalist Kevin Figes has continued his exploration of the "Canterbury Scene" with the release of Wallpaper Music III on Pig Records (PIG20). Though Figes is geographically removed from the original Kent-based movement of the late 1960s and 70s, his musical lineage is deeply intertwined with its key figures. Figes previously studied under saxophonist Elton Dean and performed in ensembles led by Keith Tippett, both of whom were pivotal to the development of British avant-garde jazz and progressive rock.
Wallpaper Music III is a quintet recording featuring Figes on alto and soprano saxophones, flute, and vocals; Brigitte Beraha on vocals; Jim Blomfield on keyboards; Ashley John Long on bass; and Mark Whitlam on drums. The album is a synthesis of intricate compositions and whimsical, often surrealist lyrical content. The inclusion of Beraha is particularly significant; her lithe, airy vocal delivery acts as a primary melodic instrument, often doubling Figes’ saxophone lines in complex staccato passages.
The track "Fair Weather" pays direct homage to the band Hatfield and the North, while "Strangers On A Train" utilizes a spoken-word dialogue that mirrors the experimental vocal devices found on Robert Wyatt’s Little Red Record. Despite the self-deprecating title, the music is characterized by tight rhythmic foundations and inventive arrangements. The album was recorded at Monmouth in January 2025, marking a continuation of Figes’ effort to document his evolving "Wallpaper" series, which seeks to elevate background textures into foreground artistic statements.
Jason Kruk: Technical Precision and the New York Fusion Influence
The third pillar of this contemporary jazz-rock overview is Jason Kruk’s Beyond The Veil, released on SunGoose Records. This album marks Kruk’s second outing as a leader, following his 2009 debut Leaving Saturn. Kruk, a drummer and composer originally from Milwaukee, Wisconsin, brings a high-degree of academic and technical rigor to his work, having earned a master’s degree in Jazz Studies from the University of North Texas under the tutelage of renowned educator Ed Soph.
Beyond The Veil is a star-studded affair that bridges the gap between classic 1970s fusion and modern New York jazz-funk. The album features prominent guest appearances from guitarists Wayne Krantz, Adam Rogers, and Bob Lanzetti, as well as bassists Michael League (of Snarky Puppy) and Fima Ephron. The opening track, "Ascension," features tenor saxophonist Brian Donohoe and evokes the high-energy intensity of the Mahavishnu Orchestra.
Kruk’s compositions are described as "unapologetic funk fests," with tracks like "Awakening" and "The Lion" showcasing his precision as a drummer. The album is also deeply personal; the track "Dad" is a ruminative piece dedicated to Kruk’s father. Kruk’s musical identity is a product of his early exposure to rock giants like The Who and Led Zeppelin, later refined by an obsession with the innovative drumming of Tony Williams. This blend of rock power and jazz sophistication defines the 73-minute runtime of the disc.
Chronology of Production and Recording
The timeline of these releases indicates a concentrated period of creative activity within the jazz-rock subgenre between late 2023 and early 2025.
- 2023: Hedvig Mollestad Weejuns releases their self-titled debut, establishing the trio’s experimental framework.
- January 2025: Kevin Figes records Wallpaper Music III in Monmouth, Wales, over a four-day session (January 8–11).
- Early 2025: Hedvig Mollestad releases Bees In The Bonnet with her regular trio, followed shortly by the Weejuns’ Bitches Blues.
- 2025 Release Window: Jason Kruk issues Beyond The Veil, featuring a compilation of New York-based sessions (dates not specified but reflective of the current fusion zeitgeist).
The rapid succession of Mollestad’s releases suggests a strategic effort by the Rune Grammofon label to capitalize on the artist’s growing international profile. Similarly, Figes’ "Wallpaper" series has maintained a steady cadence, allowing for a longitudinal study of his compositional growth.
Comparative Data and Technical Personnel
A comparative look at the technical personnel involved in these projects reveals a high level of cross-pollination and professional pedigree:
| Feature | Hedvig Mollestad Weejuns | Kevin Figes | Jason Kruk |
|---|---|---|---|
| Primary Instrument | Electric Guitar | Saxophone / Flute | Drums |
| Label | Rune Grammofon | Pig Records | SunGoose Records |
| Key Collaborators | Ståle Storløkken, Ole Mofjell | Brigitte Beraha, Jim Blomfield | Wayne Krantz, Michael League |
| Style | Heavy Jazz-Rock / Psych | Canterbury / Avant-Jazz | Modern Fusion / Funk |
| Recording Location | Oslo, Norway | Monmouth, UK | New York, USA |
| Total Runtime | 38:23 | 46:06 | 73:38 |
The data shows a disparity in album length, with Kruk’s Beyond The Veil offering a sprawling 12-track experience, while Mollestad’s Bitches Blues opts for a concise, high-impact six-track format.
Official Responses and Critical Analysis of Implications
While formal press statements from the artists are often reserved for promotional cycles, the industry reaction to these albums suggests a broader shift in how jazz-rock is perceived. Once dismissed as a relic of the 1970s, the genre is being reclaimed by artists who integrate elements of noise, metal, and electronic soundscapes.
Musicologists suggest that Mollestad’s work represents a "Nordic interpretation" of the power trio, where the use of space and atmosphere is as important as technical shredding. In contrast, Kevin Figes’ work is seen as a preservation and extension of a uniquely British musical heritage, proving that the Canterbury aesthetic remains a viable vehicle for contemporary songwriting.
Jason Kruk’s release is being viewed as a testament to the enduring influence of the New York fusion scene. By recruiting members of Snarky Puppy and veteran guitarists like Wayne Krantz, Kruk aligns himself with a movement that prioritizes "groove-heavy" complexity and high-fidelity production.
Broader Impact on the Global Jazz Market
The simultaneous relevance of these three albums indicates that the global jazz market is currently hospitable to "heavy" and "prog-leaning" instrumental music. This trend is supported by several factors:
- Genre Fluidity: Modern audiences, particularly those engaging with vinyl culture and independent labels like Rune Grammofon, are increasingly indifferent to the barriers between jazz and rock.
- Virtuosity as a Draw: The high level of technical proficiency displayed by Mollestad, Figes, and Kruk appeals to a dedicated niche of listeners who value instrumental mastery.
- Collaborative Networks: The presence of high-profile sidemen (e.g., Michael League, Ståle Storløkken) helps these releases gain traction across different fanbases.
In conclusion, Bitches Blues, Wallpaper Music III, and Beyond The Veil are not merely individual artistic achievements; they are symptomatic of a robust and intellectually rigorous period in modern music. Whether through the menacing distortion of Mollestad, the whimsical intricacies of Figes, or the rhythmic precision of Kruk, these artists are ensuring that the evolution of jazz-rock remains both unpredictable and essential.
