Vlatko Stefanovski Trio- London Sessions Review
Album Review
Artist: Vlatko Stefanovski Trio
Album: London Sessions
Label: Croatia Records
Publication Date: December 6, 2024
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Vlatko Stefanovski’s London Sessions is a carefully crafted retrospective that revisits 23 songs spanning his illustrious career, from his time with Leb i Sol to his acclaimed solo work. Recorded at the iconic Abbey Road Studios, the album captures the essence of Stefanovski’s live performances in a controlled studio setting, offering a crisp, polished take on his repertoire. The result is a collection that balances nostalgia with an updated sonic clarity, highlighting Stefanovski’s growth as an artist and performer.
The production has a vibrant, live-in-the-studio quality that captures the spontaneity of Stefanovski’s concert performances. Each track benefits from Abbey Road’s pristine acoustics, which enhance the interplay between instruments while maintaining the intimate feel of a small ensemble. Tihomir Hojsak, a talented double bassist from the jazz-folk duo Hojsak and Novosel, brings a steady yet dynamic presence to the album, replacing Stefanovski’s regular bassist Ivan Kukić. His basslines add warmth and depth, complementing the intricate guitar work. Meanwhile, Jan Stefanovski’s precise and versatile drumming adds another layer of sophistication, adapting effortlessly to the album’s diverse rhythms and styles. His performance is measured yet impactful, driving energetic tracks while providing understated support in quieter moments.
This album isn’t Stefanovski’s first foray into London’s music scene. In the late 1970s, he contributed to drummer Ipe Ivandić’s Stižemo album, recorded in London. Over the decades, he has performed there with Leb i Sol, including a notable show at Ronnie Scott’s club. More recently, he appeared as a soloist with the London Symphony Orchestra at the Barbican for the Balkan Fever project, conducted by Kristjan Järvi. However, London Sessions is the first time Stefanovski leads his own project at Abbey Road, and he embraces the opportunity with careful attention and creative focus.
The album opens with a surprising yet fitting choice: a cover of the Beatles’ classic While My Guitar Gently Weeps. Stefanovski’s rendition is a thoughtful homage to George Harrison, one of his early inspirations. His playing conveys both technical mastery and emotional resonance, capturing the spirit of the original while making the piece distinctly his own. The clear, vibrant recording accentuates every note, allowing the subtleties of his interpretation to be appreciated.
The selection of songs reflects key moments in Stefanovski’s career, with many coming from Leb i Sol’s catalog. Tracks such as Bistra Voda, Kumova Slama, Skopje, and Čukni vo Drvo retain their original spirit but are enriched by fresh arrangements. On Bistra Voda, the restrained opening emphasizes the delicacy of Stefanovski’s phrasing, while Hojsak’s bass provides a solid foundation that enhances the track’s melodic depth. Similarly, Kumova Slama benefits from Jan Stefanovski’s crisp, syncopated drumming, which drives the song with understated precision.
Traditional Macedonian songs like Makedonsko Devojče, Ne si go prodavaj Koljo čiflikot, and Eleno Kerko stand out as heartfelt tributes to Stefanovski’s cultural heritage. These tracks are performed with respect for their traditional origins but are elevated by the nuanced interplay of the trio. The arrangements maintain a balance between honoring tradition and showcasing Stefanovski’s signature style.
Tracks like Si Zaljubiv Edno Mome and Kalajdžisko Oro highlight Stefanovski’s ability to fuse Macedonian folk elements with contemporary jazz and rock sensibilities. The former showcases a delicate balance of melody and rhythm, with Jan Stefanovski’s drumming providing a restrained yet essential pulse. The latter, an instrumental piece, is a showcase of technical brilliance, featuring intricate guitar work and dynamic shifts that keep the listener engaged. The track weaves swirling guitar melodies with precision and flair, underpinned by a complex rhythm that adds to its dynamic character.
This is not the first time Hojsak has performed the piece; he delivered it during a memorable concert at Lisinski Hall in Zagreb in 2018. Hojsak and Novosel joined Stefanovski on stage for this track, as documented in Live at Lisinski (Croatia Records, 2019). In one unforgettable moment, Novosel’s tamboura strap came loose mid-performance, and, despite the intensity of the music, Stefanovski paused his playing to assist with the strap, all without disrupting the flow. While that rendition was an electrifying all-acoustic performance, this version leans into a rockier approach. The repetitive phrases create an infectious rhythm, and the intricate, uneven beats bring a vibrant energy that feels both dynamic and uplifting.
His solo career is equally well-represented, with tracks like Gypsy Song, Kandilce, Cowboys and Indians, Vlatkovo Oro, and 7/8. These compositions highlight his ability to seamlessly fuse jazz, rock, pop, and folk into a cohesive sound. Kandilce and Gypsy Song stand out for their emotional resonance, offering a glimpse into Stefanovski’s more introspective side. The arrangements remain fresh, and they add further depth, demonstrating his versatility and his ability to infuse personal storytelling into his music.
What makes London Sessions particularly compelling is its ability to revisit past work without feeling repetitive. Much like U2’s Songs of Surrender, which revisits their classic hits and more, Stefanovski reinterprets his catalog with a fresh perspective. he recordings are neither carbon copies of the originals nor radically different; instead, they feel like refined conversations between past and present.
Abbey Road's pristine acoustics lend an intimate quality to the album, making each note resonate with clarity and warmth. The stripped-down arrangements highlight Stefanovski’s intricate guitar work and the interplay between his instrument and Hojsak’s bass. The result is a collection that feels both grand and personal, as though Stefanovski is playing directly for the listener.
Listening to London Sessions is like tracing the arc of Stefanovski’s career, guided by his exceptional musicianship and deep connection to his roots. For longtime fans, the album is a chance to rediscover familiar songs through a refined lens. For newcomers, it serves as an excellent introduction to one of the most accomplished guitarists in contemporary music. With its balance of nostalgia, innovation, and technical excellence, London Sessions reaffirms Stefanovski’s place as a vital voice in the global music scene.
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Love the George Harrison cover