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The title track from bassist Bruno Råberg’s latest album lays down a melody upon which the trio improvises collectively. Thus, the composer’s theme maintains only a mere presence while the three artists "converse" on a common topic. Two other tracks place the trio in a free group improvisation mode, one is a traditional Swedish folk tune, and the rest are from Råberg’s pen. An interesting composer, the bassist blends Northern European folk song ideas with overtly modern jazz elements to express with complete satisfaction. The basic ideas are pure and simple, while the end result is complex enough to draw you in like a magnet.
"Procession," in 11/4, is counted 3+3+3+2. The bassist hypnotizes with a Mingus-like riff while tenor saxophone and drums add melody over stronger emphasis. The meter creates an effect as if the processional were being abbreviated. So that pomp and circumstance can cut corners gracefully, the visualized participants are taking one short step for every three slow ones.
Highly recommended, Bruno Råberg’s latest project combines avant-garde unpredictability with down-home charm for a respectable jazz outing.
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.