Mickylee, John Stowell, Ulf Bandgren: Portuguese Blue

Portuguese Blue is a record that joins the talents of three jazz guitarists, Mickylee, John Stowell, and Ulf Bandgren. It is one of those "guitar summit" recordings which combines the talents of exceptional guitarists and, as such, is an inviting document. Groups consisting of three guitarists are not unheard of in jazz music but they are not very common. Duo conversations open many possibilities but trios can open even wider harmonic possibilities. Sometimes these types of records feature good playing rather than good music. The latter is really hard to produce and, thankfully, Portuguese Blue is one of those records where the good music is evident before the brilliance in the playing is recognized.

This record has a distinct naturalness about it. The musicians are unwilling to settle anywhere too familiar and that is helping it feel like a back- home get-together. This means that there is a high level of skill that is implied here from all players in order to make the music flow so easily. As a result, these three feel like cousins hanging out and just happen to make exciting and interesting tunes. Recorded in Vienna on the eve of the pandemic, and mixed and mastered on its tail end, this record's tone modulates in various forms of early guitar jazz. Obviously, they are well acquainted with the works of early jazz guitar masters such as Jim Hall, Charlie Christian, Charlie Byrd, and Grant Green, to name but a few. Sometimes this form of subtle and light jazz can lead to blandness and endless repetitiveness. Fortunately, that is avoided by clever arrangements and gentle inventive interplay. The interactions are fabulously well-measured and, regarding the compositions, the album offers a great mix of works from each party.

On the opening track "Vitra" and elsewhere, the musicians shift between leading and supporting with ease which testifies to the chemistry between them. From the very start, it is evident that these three have been vibrating on the same wavelength. It provides a proper introduction to what is to follow. In general, not only are the interplay and the solos among the guitarists interesting and subtle, but the three-guitar arrangements on some of the pieces sound great as they move from harmonized parts to unison parts. The title track features the same approach and its melody offers interesting cinematic soundscapes.

The similarity of their sensibilities can hardly be ignored as the compositions assume a deceptive melodic simplicity that proceeds unhurriedly. Mickylee, Bandgren, and Stowell's playing styles are stylishly different yet complementary; they support each other regardless if the playing alternates between tender, subtly flourishing, and dramatic or introspective as in "Ghost on the Corner" or "Light as a Feather." Yet they are wholly simpatico in these works. "It Could Happen to You" and "You Know When You Got It" are where the tempo and the dynamics up, and the guitars dance together organically with melodies ranging from Jim Hall-esque to a more Django Reinhardt-esque approach with subtly playful flourishes.

A sense of economy is clear from start to finish on this album which never comes off as overwrought, just full of wonder. All told, this is an understated session that requires patience; it is evident how much joy these three were having plucking around.