(ACT, 2009)his last studio recording excluding the career-spanning Signature Edition 3
(ACT, 2010) compilation Lars Danielsson raised the bar on a string of recordings demonstrating increased evolution on all fronts. If Liberetto
doesn't exhibit the same degree of incremental stylistic
growth that Tarantella
did over previous albums including Pasodoble
(ACT, 2007) and Mélange Bleu
(ACT, 2007), it does represent its own milestone, one where Danielsson's astute choice of players becomes as important as the music they play. Liberetto
expands on Tarantella
's masterful mix of elegant lyricism, unerring groove and Euro-centric classicism. While the configuration of his group is the samea piano/guitar/bass/drums quartet occasionally augmented with trumpetDanielsson opts for an almost entirely new ensemble, with only John Parricelli
returning, and it's a great choice. The British guitaristlargely a session player who's also rubbed shoulders with artists including trumpeter Kenny Wheeler
and saxophonist Andy Sheppard
plays largely a supportive role, primarily on nylon-stringed guitar, and delivers a brief but impressive solo on Danielsson's "Driven to Daylight," a track propelled forward by the bassist's robust tone and percussive approach.
Parricelli is essential to Danielsson's "Orange Market," which begins gentlyits winding melody doubled by the guitarist and Armenian pianist Tigran Hamasyan
(here going by his first name only), replacing Tarantella
's Leszek Możdżerbut gradually picks up steam as a theme-driven bass solo leads to Tigran pushing into territory familiar for fans of pianist Esbjorn Svensson
's e.s.t. trio. There's an even more direct connection, with e.s.t.'s Magnus Ostrom
assuming the drum chair after Tarantella
's Eric Harland
. Not that Tigran plays anything like the late Swedish pianistnor does Danielsson sound anything like e.s.t.'s Dan Berglund
. But as the song builds to Liberetto
's most powerful peak, the trio of Tigran, Danielsson and Öström works a repetitive series of changes with the same kind of relentless drive and exhilarating climactic build.
Aside from four pieces written/co-written/arranged by Tigran, the bulk of Liberetto
comes from Danielsson's pen, the pianist's opening "Yerevan" suggesting an electro-acoustic confluence not heard since Mélange Bleu
, featuring trumpeter Arve Henriksen
's harmonized trumpet and Parricelli's in-the-weeds guitar swells. Still, what most distinguishes Liberetto
's largely acoustic set from recent predecessors is its inherent intensity
, even in its quietest moments. While the title track and, in particular, the sing-song approach to "Ahdes Theme" remain as gentle and painfully beautiful as some of the bassist's best writing, the interaction and commitment amongst this particular group of musicians is deeper, more immediate and, in some cases, more flat-out visceral
than anything that's come before.
Danielsson's had some great groups in the past, but with his newfound musical soul mate Tigranthe two meeting a scant week or two before the recordingthis one demands the opportunity to discover where longevity might lead. An exceptional and compelling debut for Danielsson's new lineup, what Liberetto
delivers is ultimately but a promise of greater things to comehopefully a beginning, and not an ending.