V
Like the letter for which it is named, this conceptual project by bassist Uros Spasojevic and pianist Bojan Marjanovic finds a meeting point between two independent lines. The search for that confluence is only the beginning of our journey through the young Serbian duo’s exalting, honest music.
Influenced by Norwegian pianist and composer Ketil Bjørnstad, and due also the fact that this project began as part of a multimedia concept, the music on V feels like the soundtrack to an unmade film, all the while embodying the tension of contrast and complement between its instruments. What at first may seem like opposing signatures by the end unite into something fresh and enchanting. Together, Uros and Bojan lay a path into the listener’s experiential horizon, erasing that liminal boundary where the past ends and future begins. Their dialogues are defined by the deconstructive treatments, roles, and expressive possibilities of their assemblage. Deferring to the melodic function of electric bass, piano parts explore varying textural models in the vein of contemporary classical music. In most pieces, the bass’s timbres and moods are combined with through-composed material, thus birthing an indivisible entity.
This conceptual duo album is influenced by Norwegian pianist and composer Ketil Bjørnstad and since the project started as part of a cinematic concept, the music on V could be likened to a soundtrack to a future film. A sound that embodies the tension of contrast and complement between two strong instrumentalists. What at first may seem like opposing signatures will in the end unite into something fresh and enchanting.
Together, Uros and Bojan build a path into the listener’s experiential horizon, erasing that liminal boundary where the past ends and the future begins. Their dialogues are defined by deconstructive treatments, roles, and expressive possibilities of their assemblage. Highlighting the melodic function of the electric bass, the piano explore varying textural models and parts in the vein of contemporary classical music. In most pieces, the bass’s timbres and moods are combined with through-composed material, thus creating an indivisible entity.
The album was entirely composed by Uros Spasojevic, who is committed to the idea that the bass guitar can be a leading melodic and solo instrument capable of viable polyphony and improvisational logic. With sublime taste and sophistication, he strives for simplicity, sincerity, and originality. Bojan Marjanovic is a pianist of versatile capabilities and interests, spanning the gamut of classical to improvised music and contemporary jazz. Although mostly classically trained, he has translated his multivalent identity and curiosity into an exploration of music beyond stylistic bounds. This is their first album as a duo.
Musicians:
Uros Spasojevic – bass guitar
Bojan Marjanovic – piano
About the album:
“The album as a whole recalls electric bassist Bjorn Meyer ‘s solo album Provenance (ECM Records, 2017). Spasojevic has a distinctive voice on the electric bass, worthy of a brighter spotlight than he has received so far.”
Mark Sullivan
Music Journalist
All About Jazz
Full review on 
“Psychologist Mihaly Csikszentmihalyi defines “flow” as a oneness of performer and process, and on V electric bassist Uros Spasojevic and pianist Bojan Marjanovic achieve precisely that. That said, the Serbian duo doesn’t so much combine forces as close the gap between them, like two hands from different religious traditions coming together in a single prayer.”
Tyran Grillo
Music journalist
Full review on 
“A distinctly atmospheric, at time mesmeric, release which should appeal strongly to anyone who inclines to the ECM or Edition Records sides of contemporary music.”
Michael Tucker
Music journalist
Jazz Journal
Full review on 
“Going to essential, cleansing the music from any excess, from any potential distraction for the listener and slowing down everything as to concentrate on the pure texture inner to each melody, that is the objective Uros Spasojevic and Bojan Marjanovic pursue in their V.”
Marcello Nardi
Music journalist
Music for watermelons
Full review on musicforwatermelons.com
“Spasojevic´ komposisjoner og Marjanovic sitt pianospill har helt egne bumerker og sørger for at «V» har blitt et lite og vakkert smykke av ei plate.”
Tor Hammerø
Music journalist
nettavisen.no
Full review on nettavisen.no
“Wenn der klassisch ausgebildete Marjanovic hinzutritt, entsteht oftmals ein gewisser kammermusikalischer Duktus, der einer ECM-Ästhetik nicht fern ist; und gelegentlich wähnt man sich bei Ketil Bjørnstad, in dessen Kontext sich Spasojevic mit diesem Album auch ausdrücklich verstanden wissen will.”
Stefan Vinaricky
Music journalist
Nordische-musik
Full review on 
“Uros Spasojevic and Bojan Marjanovic make unusual and mesmerizing music on V, a disk the electric bassist and pianist make into its own vortex. V is magnetic and moody, perhaps more atmospheric than melodic. Influenced by ambient and particularly chill techno, V doesn’t sound like anything else. May Spasojevic and Marjanovic continue their fearless and alluring experimentation.”
Carlo Wolff
Journalist and author
regular contributor to Downbeat magazine,
The Boston Globe, Chicago Sun-Times,
Pittsburgh Post-Gazette
“The five strings of a young Serbian bassist in duo with his countryman. Taking influence from Norway’s Ketil Bjørnstad, with whom it shares a faint geographical and historical affinity, the genesis of this music enchants with wondrous sound. Embracing a tranquil atmosphere, it seems tailor-made on Spasojevic’s part to be a flyby soundtrack—very much in line with ECM’s “next best sound to silence” philosophy. The beautifully resonant track 6, which combines rapid passages and arpeggios from piano with echoing electric bass, is a standout.”
Hiroki Sugita
Music journalist
JazzJapan
“Using only an electric bass and a piano, Uros Spasojevic and Bojan Marjanovic render surprisingly detailed imagery. Moods range from black-and-white film soundtracks to dreamy hallucinations that draw us in like the cover photo. A gem of ambient jazz sent from the far reaches of Norway.”
“Way out west”
Japanese Jazz magazine
“The album definitely has a futuristic, minimalistic sound, a bit like listening to a heavy film soundtrack. Mr. Spasojevic clearly sets whatever mood or atmosphere he’s going for, so I wouldn’t be surprised if he one day did decide to score films.”
Peter Hoetjes
Music Journalist
All About Jazz
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