Ulaan

On her third album Munich-based Mongolian vocalist Enji strikes a beguiling balance between modern jazz and the folk traditions of her country of birth. The odd-time grooves and understated solos root the record in the northern European jazz idiom, but Enji enriches this template with her compositional flair and captivating voice.

The Mongolian language is a wonderful vehicle for vocal jazz, with its distinctive trills and invitation to subtly scoop from one pitch to another in a manner suggestive of the spaces between the standardised tones. Enji deserves special credit for rejuvenating the much-maligned art of scat singing, deploying it to add momentum to the irregular riffs that anchor ‘Encanto’ and ‘Taivshral’.

Among a fine cast of collaborators, Brazilian clarinettist Joana Queiroz stands out. Her layered clarinet solely supports Enji's singing on ‘Temeen’, seamlessly shifting from rhythmic anchor to melodic foil. Album closer ‘Uzegdel’ highlights Enji's melodic strength. She has not forgotten that a beautiful melody allows listeners to better enjoy deviations into improvisation and experimentation.

A desire to study jazz took Enji away from Mongolia but Ulaan's fine fusion shows she has found a way to orientate herself toward home.