‘Liberetto III’ – Lars Danielsson

Liberetto III

A KEY FASCINATION with Swedish bassist, cellist and composer Lars Danielsson’s Liberetto III is that his original music’s instrumental fluctuations and juxtapositions frequently pose thoughts of “What is that instrument or combination of sounds?”

The third of the bassist/composer’s recordings under this title again brings together guitarist John Paricelli and drummer Magnus Öström to form the core quartet, this time with pianist Grégory Privat; and as before, some of Danielsson’s twelve new pieces also feature a clutch of guests (including returning trumpeter Arve Henriksen) to further varicolour the attractive, pictorialised soundscapes.

German label ACT Music (this year celebrating its 25th anniversary) has successfully continued to discover and nurture a distinctive, European ‘family’ of artists; and Danielsson’s output is very much a part of its prolific release catalogue – typically cosmopolitan, infused with cross-cultural atmospheres and refractions, defined by a welcome lack of boundary. Describing the project’s development, he refers to the band having a ‘sixth sense’ which comes from playing together so much; and this surely is a factor in why this array of ebullient, haunting and even spiritual expressions melds together so well across the album’s fifty-five minutes.

Lars Danielsson’s melodic approach is not unlike that of German bassist Eberhard Weber, and his bright, lyrical vibrato is prominent in opening numbers Preludium and Agnus Dei, with the latter’s warm, hymnal equilibrium emphasised by Arve Henriksen’s subtle trumpet and Björn Bohlin’s oboe d’amore. With Magnus Öström driving the precise energy of numbers such as Lviv, there’s a pleasing inevitability of his brushed ‘perpetuum mobile’ summoning e.s.t., confirmed by Danielsson’s searing, screeching strings in Dawn Dreaming. Hussam Aliwat’s oud and John Paracelli’s acoustic guitar enhance the dusky, heated Arabic flavours of Taksim by Night and also (showcasing Grégory Privat’s rapid, pianistic flair) catchy Sonata in Spain.

The clear, reverential aspects of the bassist’s compositions and arrangements are particularly magnetic – from the melancholy trumpet phrasing and wordless vocal of Henriksen in Orationi (which also features an achingly beautiful solo from Danielsson) to a similarly wistful pastorale, Da Salo, painted with exquisite, teardrop watercolours from Bohlin’s English horn. The appealing African-lute timbres of Danielsson’s gimbri are given a contemporary twist in Gimbri Heart as chromatic trumpet and sustained effects prompt the leader’s flamboyant rock cello; and the echoic, French elegance of Mr Miller (US bassist Marcus Miller also, incidentally, a master of the gimbri) suggests the romanticism of Fauré’s ‘Pavane’ and Ravel’s ‘Bolero’ – glimpses of European classical and folk, throughout this album, add so much.

To close, affably scurrying guitar lollipop Affretando spreads soft sunshine with theme-tune-like memorability until slow, eventide bossa nova Berchidda seemingly honours Antônio Carlos Jobim in sublime suspension, featuring Danielsson’s dulcet high-bass melodies, with great attention to detail.

Released on 26 May 2017, Liberetto III somehow casts a spell… a real joy to hear, again and again.

Available from ACT Music, Amazon and iTunes.

 

Lars Danielsson double bass, cello, piano, wah-wah cello, gimbri
Grégory Privat piano, Fender Rhodes
John Paricelli guitars
Magnus Öström drums, percussion
with guests
Arve Henriksen trumpet
Dominic Miller acoustic guitar
Hussam Aliwat oud
Björn Bohlin English horn, oboe d’amore
Mathias Eick trumpet

ACT Music – Act 9840-2

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‘Sun Blowing’ – Danielsson Neset Lund

Sun Blowing

SUN BLOWING is an album which quite simply screams (or whispers) empathy, communication and extreme musicality. Recorded live in the studio within six hours, mostly as first takes and with minimal post-production intervention, this beautifully captured moment in time is the work of three masters of their craft – Marius Neset (tenor saxophone), Lars Danielsson (double bass) and Morten Lund (drums).

Born out of a three-way conversation on a train and the subsequent offer of a free day in Copenhagen’s Millfactory Studios, despite having never played together as a trio, Lund explains his fundamental reasoning for this project: “The saxophone/bass/drums trio gives space and freedom. I felt that the three of us had the same passion for trusting the moment.” So, with an agreement to proceed “with as little preparation as possible” – and an invitation to ACT Music’s MD, Siggi Loch, to record the session – it now stands as a fascinating record of their encounter.

Saxophonist Neset is, by instrumental nature, chief melodicist here – and his own albums over the past few years (including Birds, Lion and Pinball) have chronicled the extraordinary, upward trajectory of his relatively early career. But, importantly, this is an entirely democratic coming-together, typified by Lars Danielsson’s single-take opener Little Jump which, with its relentless, bluesy swing, apparently set the tone for all that was to follow.

Title track Sun Blowing‘s simmering, Bachian overtones are gently carried on an echoic mist, and Morten Lund’s folksong-like Up North dances to his vigorous percussion as Neset and Danielsson overflow with babbling enthusiasm. Neset’s penchant for reflecting the vast, open landscapes of his Scandinavian homeland are evident in nine-minute Salme, his unmistakably broad, inflected tenor phrases eventually widening into cascading, descending-bass exuberance before a calm evocation of sundown; and perhaps the trio’s shared musical traditions are evidenced in blithe, airy promenade Folksong.

At this stage, one has to remember that the evolution of these pieces is largely uncontrived, and certainly free-spirited, though Evening Song for B‘s serene, collected majesty never breathes a note of indecision; and Danielsson’s familiar, vocalised bass glides across the merest hint of electronic rebound, as it does in Don Grolnick’s The Cost of Living – another sea of tranquillity which, later, remarkably snaps into choppy, typically hard-pushed tenor from Neset over crackling bass and drum turbulence.

Marius Neset describes this recording’s intentional unpreparedness as being quite different to his usual approach – yet, referring to Danielsson’s sunny, azure-skied Blå, he simply states, “It felt like home.” Succinctly, that is the overriding, oxymoronic pleasure of this album – a natural balance of spontaneous, on-the-edge improvisation characterised by a delicate, secure sense of ‘home’.

Released in the UK on 29 April 2016, Sun Blowing is available from ACT Music.

 

Marius Neset tenor saxophone  mariusneset.info
Lars Danielsson bass  lars-danielsson.com
Morten Lund drums

 

ACT Music – 9821-2 (2016)