Nina Feldgrill Album Review
by Icrom Bigrad

by Icrom Bigrad

There’s a rumble beneath the surface of today’s jazz landscape, and its source is coming loud and clear from Vienna. Bassist-composer Nina Feldgrill has dropped a heavy, groove-soaked gem with her self-titled debut, Nina Feldgrill. This record fires on all rhythmic cylinders while reaching into the heart of what fusion jazz has to offer in today’s players.

This ain’t your average debut. Feldgrill curates three distinct ensembles: River Quartet, Wind’s Whispers, and the family-fueled FELDGRILL.2, each bringing its own character, edge, and flavor to the table. Across nine tracks, what we get is a thrilling sonic mosaic of contemporary jazz with fusion firepower, global accents, rich harmony, and interactive improvisation, all anchored by Feldgrill’s muscular, melodic bass playing.

“Turn Left” kicks things off in style with just Feldgrill and her bass to start, warm and radiant in tone, with harmonics that shimmer. What follows is a full-band plunge into contemporary fusion with a funky, blues-inflected head and a knockout keyboard solo. Feldgrill’s solo here is an arc in the development of fluid, logical, and soulful lines over a modified jazz minor blues. It’s a strong mission statement of groove, grow, and give space.

“Nobody Wins For Long” opens like a tone poem, with Erik Asatrian’s piano painting in impressionist hues. Then, the band drops into a modern head that modulates and shape-shifts through rhythm and harmony with intelligence and soul. Feldgrill and saxophonist Robert Unterköfler trade melodies in a way that feels organic and cinematic.

“Four Views” pares things down to a keyboard and two basses, opening a quieter space to appreciate the touch and taste that the two basses playing Feldgrill’s bring. With Werner Feldgrill joining on bass and Eugen Vizváry on keys, this tune keeps its roots in straight-ahead tradition while coloring it with contemporary polish.

Then comes the big fusion burner, “Young and Old.” This is high-energy jazz funk features tight, propulsive, and dripping with interplay. Feldgrill keeps the low end locked but never static, giving the music its bounce and push. Unterköfler’s sax solo here is on fire, and the whole band breathes as one.

With “Shadows,” vocalist Saba Robatjazy joins the mix, and this track signals a shift into fusion storytelling with vocal textures. Feldgrill and the band weave through shifting feels and dynamic builds, always anchored in groove but unafraid to float. It’s beautifully arranged, and Saba’s voice adds an emotional center.

“Blue” is a standout with its modern fusion vocal texture that fuses rich timbres with elastic grooves and strong harmonic pacing. Feldgrill’s solo is melodic and punchy, a model of shape and story.

“Hope in Despair” is moody, dark, but energized, with Feldgrill exploring more shadowed bass phrasing. It’s a track that builds from tension to release with tastefully sculpted improvisation.

“Dear Master” brings it down to a swing ballad with brushes and breath. Feldgrill stretches out her phrasing with elegance, while the saxophone brings the heat, lyrical and free. And the closer “One Day” brings Saba back in for a smooth, grounded finish with her fusion vocals front and center again. The feel is uplifting, like sunrise through jazz chords.

Throughout Nina Feldgrill, you can hear echoes of Joe Zawinul, but this is no retread. Feldgrill pushes forward, pulling grooves from all corners, coloring with keyboard and voice, layering rich compositional form atop strong pocket playing. Each ensemble is used not just as a backing unit, but as a collaborative organism that is responsive, dynamic, and deeply musical.

Fusion fans will enjoy the form, feel, and phrasing of this album. Feldgrill has fresh ideas in her approach to bass as both a rhythmic anchor and lyrical voice. Bottom line? Feldgrill’s got the ears, the chops, and the vision. Nina Feldgrill is a fresh sound on the fusion scene. Spin it loud, listen deeper, and watch where she goes next.