Sounds Of Eternity: Part One

The title of this album projects existential or perhaps biblical connotations. Yet this Swedish quintet evens out the glorious melodies with a contemporary jazz methodology, topped-off with a distinct edge. They render a balancing act of sorts, where improvisation attains a hearty coexistence with Linnea Olsson's angelic vocals and textural cello work to complement an easy to grasp, ensemble-based jazz vibe.

Trumpeter Fredrik Davidsson serves as the primary soloist here as these works are largely constructed upon memorably melodic themes and guitarist Conrad Boqvist's multipurpose line of attack. Consisting of Davidsson's atmospheric choruses and Olsson's vocalise, the outfit integrates the Latin vibe and other genres with gently articulated percussion backdrops and sensitively enacted treatments.

The nicely-orchestrated piece titled "Varför säger dom en sak och menar en annan?, is designed with multihued pastiches of sound, generated by Davidsson's warm and golden-toned lines. Here, the band lulls you into a semi dream-state offset by drummer Povel Ohlsson's crashing cymbals. To that end, the ensemble isn't content with mirroring the tried and true. Such is the case with the edgy and slightly off-kilter composition "Novembertango, that is accentuated by guitarist Conrad Boqvist's distortion-heavy phrasings and Olsson's subliminal vocals.

In effect, the quintet supersede many of its peers within the popular contingency of easily accessible jazz music. They execute within a larger, ensemble type framework while structuring the program as an interweaving set of musical storylines, enamored with plush sound-sculpting maneuvers.