Lars Danielsson (b/vcl)
Leszek Mozdzer (p)
Mathias Eick (tp)
John Parricelli (g)
Magnus Öström (dr)
Cæcile Norby (voc) (8-11)
recorded live at Große Konzertscheune Salzau, July 3, 2010
1. Both Sides Now
2. Pegasus
3. Tarantella (Lars Danielsson)
4. Fellow (Lars Danielsson)
5. Pasodoble (Lars Danielsson)
6. Fiojo (Leszek Mozdzer)
7. Suffering (Lars Danielsson)
8. Hallelujah (Leonard Cohen)
9. Dead Princess (Maurice Ravel)
10. Wholly Earth (Abbey Lincoln)
11. Asta
Over the past few years Swedish bassist, cellist, composer, and arranger Lars Danielsson has matured into one of the most important voices in European jazz. On his duo album Pasodoble he and his Polish peer, pianist Leszek Możdżer, executed a beautiful and breathtaking manifesto of melody and harmony that mediated between classic and jazz.
These previous concepts form the basis of Danielsson’s new CD, Tarantella. For instance, some of the duo pieces and passages on Tarantella, such as “Melody on Wood” and “Fiojo”, are built directly upon passages from Pasodoble, and on listening, it’s no wonder that Danielsson calls Możdżer “the perfect pianist for me”. It is simply amazing how Danielsson consistently refines his work, how he continues to open up new areas of sound and place them in new contexts and combinations. “I have taken the character of my music as the starting point, and have looked for the people who will best fit to it.” He found Norwegian trumpeter Mathias Eick, British guitarist John Parricelli, and the American drummer Eric Harland.
This assembled international line-up is ideal for pieces that, with their controlled sense of arching suspense, seem so classically oriented on the one hand, and on the other hand are wide-open for improvisation and intimate musical dialogue. Those who know Mathias Eick can confirm that his lyrical trumpet playing, saturated with its bold sense of space, is a perfect accompaniment. More surprising is how John Parricelli, who is best known for his fusion-sound, and who has worked with the likes of Colin Towns and Django Bates, obtains such delicately shaded sounds on the guitar. And it’s even more amazing as to how the young drummer Eric Harland has traded in the hard-edged, energy-loaded US school of drumming in favour of a more laid-back, melodically innovative percussion style.
These previous concepts form the basis of Danielsson’s new CD, Tarantella. For instance, some of the duo pieces and passages on Tarantella, such as “Melody on Wood” and “Fiojo”, are built directly upon passages from Pasodoble, and on listening, it’s no wonder that Danielsson calls Możdżer “the perfect pianist for me”. It is simply amazing how Danielsson consistently refines his work, how he continues to open up new areas of sound and place them in new contexts and combinations. “I have taken the character of my music as the starting point, and have looked for the people who will best fit to it.” He found Norwegian trumpeter Mathias Eick, British guitarist John Parricelli, and the American drummer Eric Harland.
This assembled international line-up is ideal for pieces that, with their controlled sense of arching suspense, seem so classically oriented on the one hand, and on the other hand are wide-open for improvisation and intimate musical dialogue. Those who know Mathias Eick can confirm that his lyrical trumpet playing, saturated with its bold sense of space, is a perfect accompaniment. More surprising is how John Parricelli, who is best known for his fusion-sound, and who has worked with the likes of Colin Towns and Django Bates, obtains such delicately shaded sounds on the guitar. And it’s even more amazing as to how the young drummer Eric Harland has traded in the hard-edged, energy-loaded US school of drumming in favour of a more laid-back, melodically innovative percussion style.
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5 comments:
thanks a lot!!!
nice one.
very nice indeed! Thank you
Particularly Lovely!
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