Lars Danielsson, John Parricelli and Verneri Pohjola: Trio

Château Palmer is a wine estate in Margaux, in south-west France. Those that know about these things rate their wines as among the best anywhere in Bordeaux. If you are going to record a jazz album outside of the recording studio, then a light and airy wood-paneled salon at the château with French windows overlooking the serene estate seems to be an inspired choice. The recording came about as the second part of a project between the German label ACT Music and the château.

Swedish bassist Lars Danielsson and British guitarist John Parricelli are long-term recording partners. They are joined by Finnish trumpeter Verneri Pohjola to form a trio. There are no keyboards or drums, making space for more acoustic textures. The recording took place in the same room, as opposed to the separate rooms usually used in a recording studio, producing a live feel. The album is unimaginatively named Trio and features six Danielsson compositions specifically written in the days leading up to the session, together with a track each from Parricelli and Pohjola, three covers and a group composition.

The album opens with "Le Calme au Château" with strummed guitar, lovely reverberating bass and a relaxed trumpet melody that is slightly mournful, until the jaunty ending brings a surprise. "Cattusella"'s Latin-tinged melody leaves space for the trio to explore, notably from Pohjola's breathy trumpet. His responsiveness also shines on "Morgonpsalm" and also "Playing with the Groove," where he moves up a gear as Danielsson and Parricelli drive tight, rock-like interplay.

Of the covers, Duke Ellington and Barney Bigard's "Mood Indigo" has an interesting arrangement but slightly distracts from the feel of the rest of the material. "La Chanson d'Hélène," a song by French film composer Philippe Sarde, has a cello and subdued trumpet, creating an achingly sad atmosphere. The third cover is an inspired left field choice by Parricelli. Written by the criminally under- rated Canadian singer-songwriter, Ron Sexsmith, "Gold in Them Hills" is given a straight reading, allowing the essence of the song to emerge. It is a beautiful track with superb playing from Pohjola.

Parricelli uses Olivier Messiaen as his inspiration for his explorations on his composition "Lacour." Pohjola's "Peu d'Amour" finds him combining subtly with Danielsson. Elsewhere, Parricelli impresses with his guitar ostinato on "Étude Bleue" whilst "L'Époque" is abstract and atmospheric. Created over four days, the album mixes a "Nordic" feel with chamber music and contemporary jazz and is clearly affected by the tranquility of the setting in which the musicians found themselves. The trio employs a less is more approach, using simplicity to find the beauty in the material. They deliver outstanding performances with a muted, relaxed and warm palette, perfectly structuring their sound to the acoustics. They probably enjoyed some rather fine wine along the way.

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