This is basically a trio album, but not completely; comprised of ballads by Swedish piano master Lars Jansson, but not completely. Songs like “The Tree,” “To the Mothers in Brazil” and “Something To Eat” may be ballads in the broadest sense of the word but their brisker tempos belie the image. And the trio becomes a quartet on occasion, then a sextet as horns are added on half a dozen numbers. “Something to Eat” is the only composition that’s not entirely Jansson’s, this one a group effort between Jansson, bassist Lars Danielsson and drummer Anders Kjellberg. Of course, one could note in another sense that the entire album represents a group effort, as everyone does what he can to help ensure its success. That success hinges as much on the fluency of Jansson’s pen as on his piano, and the songs he has written are bright and winsome if not particularly memorable. His playing, on the other hand, is superb, as is that of his trio and guests (bassist Christian Spering and drummer Morten Lund replace Danielsson and Kjellberg and trumpeter Paolo Fresu and reedman Johan Bergstrom are added on “Rojo y Negro” and “Soft Breeze”). Fresu’s muted horn states the melody on “Rojo y Negro” but it’s Paul McCandless’ English horn that is most conspicuous throughout, as it is also on “Soft Breeze.” Oboist Brynjar Hoff adds lovely splashes of color on the brief (48–second) “Ma” and polyrhythmic “Atlantico,” one of two selections on which Jansson plays synthesizer as well as piano (the other is “Freedom and Destiny 1”). The session is wonderfully recorded, playing time is exceedingly generous, and Jansson and his colleagues are in lock–step all the way. More beautiful than booming, but there’s nothing wrong with that, is there?
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Track Listing: Hope; The Tree; Why Was I Left Under the Sky; In Peaceful Sleep; To the Mothers in Brazil; More Human; Under the Bodhi Tree; In Memory of Leroy Lowe; Marionette; The Inner Room; Rojo y Negro; Something to Eat; Freedom and Destiny 1; Freedom and Destiny 2; Gruad Larose; Soft Breeze; Ma; Atlantico (71:58).
Personnel: Lars Jansson, composer, piano, synth; Lars Danielsson, Christian Spering (11, 16), bass; Anders Kjellberg, Morten Lund (11, 16), drums; Brynjar Hoff (17, 18), oboe; Paul McCandless (8, 11, 15, 16), English horn; Paolo Fresu (11, 16), trumpet; Johan Borgstr
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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