Moserobie: MMPCD048 
http://www.moserobie.com/kornstadwiik2.html 
http://www.moserobie.com/catalog.html

* HÃ¥kon Kornstad: Tenor Saxophone
* HÃ¥vard Wiik: Piano

Review
~~~~~~ 
http://www.allaboutjazz.com/php/article.php?id=27557
By Budd Kopman

The Bad And The Beautiful marks the second installment of unique, intellectually
stimulating and very emotional musical vignettes from saxophonist HÃ¥kon Kornstad
and pianist HÃ¥vard Wiik, after Eight Tunes We Like (Moserobie, 2005).

As was done previously, the tunes range from older and newer standards to
intriguing tunes by today's composers, plus a couple of pop tunes that really
work. Regardless of their pedigree, each piece has a certain latent possibility
buried within it. Kornstad and Wiik's efforts are directed towards exposing the
inner workings of these marvelous compositions; saying, in effect, "This is what
they are really about."

Eschewing any kind of studio magic, the duo is recorded very dryly, which is
heard as an extension of their respective musical personalities. Kornstad uses a
thin but focused tone with little airiness or vibrato, and stays mostly in
higher range of the tenor saxophone. Wiik's touch is very delicate and spare,
leaving lots of space. His playing might be heard as that of a modern Teddy
Wilson, whose notes have been described as strings of pearls.

The immediacy and directness of the sound adds to the emotional impact of the
album, which accumulates over the course of the tunes. The effect, as on the
previous album, is subtle and beautiful, without a hint of the bombastic. They
are playing to each other and for themselves, creating an air of
intimacy. Thankfully, we get to hear it.

"Embraceable You," by George Gershwin, will most surely be recognized by anyone
familiar with the Great American Songbook. The deconstruction of the tune is
remarkable and touches on the question every improviser asks: "What is the
essence of this tune?" Listening to this track is to understand what the tune is
about emotionally as well as musically, as they reference it continually without
ever actually playing it.

At the other end of the spectrum is Graham Nash's "Lady Of The Island," one of
the high points of the album Crosby, Stills And Nash (Atlantic, 1969). This
remarkable composition, that mixes poetry with floating, beautiful harmonies, is
also taken apart and presented anew to the listener, who will never hear the
original again in the same way. It would not be surprising if this track is
picked up by others and the tune becomes a standard.

That the album is named after a David Raksin composition—a writer best known for
his film scores, and especially for Laura (1944), the theme of which became a
hit with lyrics by Johnny Mercer—is telling. Time literally stops, as Wiik plays
the slow arpeggios that announce the gossamer harmonies; the track is five
minutes of heaven.

The Bad And The Beautiful rates another heartfelt bravo!