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Although they share similar improvising/new music and/or modern jazz credentials, Disappeared signifies the inaugural release by Swedish pianist Sten Sandell, and his Chicago, IL-based associates; percussionist Michael Zerang and cellist Fred Lonberg-Holm.
The title of this outing lends a bit of credence to the actual musical presentation as the Trio executes a series of mini-themes amid unexpected surprises and elusive methodologies. Throughout these nine pieces titled, “Disappeared-Day One” through Disappeared-Day Nine”, the musicians perpetuate oscillating flows of varying levels of intensity while Sandell also augments many of these works with his abstract vocalese and scat-like utterances. Here, the band injects intricately executed three-way dialogue, whether it involves Lonberg-Holm’s delicate plucking of his cello strings, or Sandell’s melodious block chords, sparse phrasing and rapid single note lines whereas, percussionist Michael Zerang provides additional shading via his shrewd maneuvers. Basically, the artist’s surge onward via bustling movements, raw improv and intuitive exchanges in concert with either softly stated motifs, dissonant tonalities and surrealistic inclinations yet an inexplicable aura hovers atop much of this production.
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me. Try as I might, I was never able to achieve a high enough level of competency to perform at the level I was first and subsequently exposed to. Regardless, I was hooked on jazz and remain so to this day.