Karl-Henrik Ousbäck: Confluence

Drummers do not always get the respect they deserve and yet, in a jazz context, their contributions are an integral part in the overall success of the music. Aside from genre leaders such as Tony Williams, Elvin Jones, and Art Blakey, relatively few drummer-led sessions have entered into the upper echelon of recorded jazz history. However, those who cast a wider net will probably remember that drummers Art Taylor, Bill English, Grady Tate, Joe Chambers, and Roy Brooks contributed recordings under their own names which continue to be valued among the cognoscenti.

Touted as one of Sweden's finest jazz talents of recent years, Karl-Henrik Ousbäck is not only a masterful jazz drummer, but also a gifted composer, making him a viable new entry in the category of young artists worthy of wider recognition. For his first significant release as a leader, Ousback has assembled a cast of international talents. Vibraphonist Simon Moullier hails from France, while bassist Mats Sandahl is a fellow Swedish cohort of Ousback's. Rounding out the line-up are Americans Lex Korten on piano and saxophonist Dayna Stephens.

Following the atmospheric "Intro (Incarnation)," the set gets under way via the intoxicating "With Eyes Clouded." Ousback's modus operandi here is one of collective improvisation, as Korten and Moullier trade phrases. "Microsorrows" is the longest selection here and features Korten's dense piano chords at first before Ousback enters with his insistent beat, interacting with Sandahl's resonant bass lines. The trio functions with a chemistry which is immediately palpable.

An insistent beat ushers in the sprightly "A World of Front Porches." Again, Ousback forgoes conventional restraints as Stephens, Korten, and Moullier toss off exchanges as if engaging in a tennis match. A romantic ballad performance, "Translucency" features Stephen's burly saxophone lines, with shading provided by Moullier's vibes. The overall sound recalls the chemistry achieved by Harold Land and Bobby Hutcherson during their Blue Note heydays in the late '60s.

Tracks such as "Purpose" and "III" take on a more swinging vibe, offering a sanguine example of Ousback's skills as an accompanist. It should come as no surprise that he is currently a valued sideman with such leaders as Lage Lund, Ambrose Akinmusire, and Jonathan Kreisberg. By contrast, "Transmogrification" is a tone poem that closes an ambitious project which bodes well for Ouback's future as a leader. Seen live, the drummer boasts admirable chops, yet he avoids the technical displays here in true service of the music.