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Swedish drummer Peter Danemo leads his own groups and quartets. The first one featured the late pianist Esbjorn Svenssonand was called the Peter Danemo Kapell since the late eighties but his output as a leader is relatively rare. He is a diverse musician-composer and played in many Nordic outfits including ones that featured third stream jazz, a tribute group to hard rock bands LED and the modern jazz bands like the quartet Meloscope.
His new, untitled album features a new nonet of like-minded improvisers who like to experiment with forms and sounds. The music relies on dynamic rhythmic layers created by Danemo, who adds electronic treatments to his drums and percussion kit, augmented by two more percussionists. The compositions are divided into ones that are strictly notated, still with enough room for strong personalities in this group, and a set of four improvised, atmospheric pieces, "Nuances," led by trumpeter Staffan Svensson, guitarist David Stackenäs, percussionist and vocalist Lisbeth Diers and Danemo.
The rhythms morph and change quickly on the composed pieces. From the Middle-Eastern on the spare "Elsewhere" to the Latin on the post-bop energetic "Opening Scene," featuring muscular solos of trombonist Mats Äleklint, tenor saxophonist Karl-Martin Almqvist and baritone saxophonist Alberto Pinton. The cinematic "Face Open, Eyes Closed" highlights a remarkable fragile solo introduction by tuba player Per-Åke Holmlander, that sets a suggestive atmosphere for the following solos, including an impressive one by Svensson who uses extended breathing techniques. "No 1" revolves slowly above light rhythmic basis while Stackenäs' fractured guitar lines on "The Red door" suggest a shiny Andalusian atmosphere blurred eventually by Holmlander's dark tuba solo.
The "Nuances" series is more experimental in spirit. "I" is focused on the abstract sonic search of timbre and new sounds. "II" wraps the gentle, wordless vocals of Diers with unworldly electronic treatments and brief pulses. "III" focused on manipulated, rhythmic sounds with a distant touch of trumpet blows. The last one "IV" accompanies the imaginative, fragile trumpet flights of Svensson with futuristic, tribal pulse.
Track Listing: Elsewhere; Opening Scene (Alternate version); Nuances I; Face Open,
Eyes Closed; Nuances II; No 1; Nuances III; The Red Door; Nuances IV.
Personnel: Staffan Svensson: trumpet; Mats Äleklint: trombone; Karl-Martin
Almqvist: tenor and alto saxophones; Alberto Pinton: baritone
saxophone, clarinet, flute; Per-Åke Holmlander: tuba; David Stackenäs:
acoustic guitars, preparations; Lisbeth Diers: percussion, vocal;
Thomas Eby: percussion; Peter Danemo: drums, percussion, electronics.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.