The debut recording of the Swedish, Malmö-based trio comprised of guitarist Hans Nyman, double bassist Johannes Nästesjö and more prolific drummer Peter Nilsson focuses on free improvised music that is based on graphical sketches and musical processes.
The ten concise pieces offer open-ended, evocative soundscapes. The three musicians maintain a delicate, patient balance that emphasizes an uncompromising search for a common sonic thread and distinct ambiance to define each piece with varied characteristics. The trio's highly disciplined, supportive interplay bypasses elements of rhythm, harmony or linear progression and opts instead for sketching abstract, inclusive textures.
Few improvisations, as the third "DI 1:2," or atmospheric "DI 3:2" and "M 3:2," gravitate toward a conventional theme articulated by Nyman. The longest track, "GP 2," is the only one that sounds like modern jazz guitar trio improvisation. It still unfolds as a loose structure, and "M 3"3" surprises with urgent, rhythmic conception and later a gentle, melodic theme. Most improvisations suggest a cerebral search for new sounds and forms of interaction, always highlighting opinionated, personal contributions.
Throughout these open free improvisations, this trio suggest a clear and bold sound of their own.
Track Listing: Di 1:1; M 2; Di 1:2; Di 6:1; Di 3:3; Gp 2; Di 3:2; M 3:3; M 3:2; r 1:2.
Personnel: Hans Nyman: electric and 12-string acoustic guitars; Johannes Nästesjö:
double bass; Peter Nilsson: drums.
Why do I love jazz? Well, depending on what you mean by jazz, I can send an answer in any number of directions. Briefly, I was exposed to this crazy music as a little boy, my dad good friends with the local music store, where he bought sheet music to play from his baby grand
Why do I love jazz? Well, depending on what you mean by jazz, I can send an answer in any number of directions. Briefly, I was exposed to this crazy music as a little boy, my dad good friends with the local music store, where he bought sheet music to play from his baby grand. Their massive record collection, my parents taking me to concerts and clubs (only one of five kids to do so), the Magnavox furniture stereo/radio ... it all added up. It was complex, emotional music. And it had rhythm! I drummed and followed the music through the '60s even as I enjoyed the new musics of my generation.
Along with side-trips to other musicians and music, it's been one hell of a pony ride ever since.