Clean Feed: CF293
http://www.cleanfeed-records.com/product/basement-sessions-vol-2/
* Jonas Kullhammar : tenor saxophone, soprano saxophone, tarogato
* Espen Aalberg : drums
* Torbjörn Zetterberg : double bass
http://www.kullhammar.com/
http://www.allmusic.com/artist/espen-aalberg-mn0000045729
http://www.allmusic.com/artist/torbj%C3%B6rn-zetterberg-mn0000160739
Recorded and mastered by Jonas Kullhammar.
Reviews
By Glenn Astarita
http://www.allaboutjazz.com/basement-sessions-vol-2-jonas-kullhammar-clean-feed-records-review-by-glenn-astarita.php
This is the second installment of the Swedish trio's manifold and largely,
hard-hitting Basement Sessions motif for Clean Feed Records. And while the
artists incorporate a high level of experimentation, they intertwine old school
jazz values into the big picture via structured compositions and free-flight
improvisations amid an aggregation of contrasting hues, capacious soundscapes
and more. From a trio standpoint, the musicians bring quite a bit to the
forefront. They expand, contract and generate some blazing, red-zone like
turbulence with a few sizzling, free-bop style workouts
Reedman Jonas Kullhammar uses the Hungarian clarinet-like instrument taragato
on the opening track, "Moksha." He projects an off-center soundstage with this
single reed, woodwind instrument that has a plump and rather hollow
resonance. But the artists shift the tide on a per-track basis. For instance on
"Oort Cloud," Kullhammar, performing on tenor sax, glides atop a jazz-waltz
pulse with reverberating and singing notes, rooted with a bluesy swagger,
leading to the band's downpour of free form dialogues and accelerated by the
rhythm section's mounting force-field. However, the diverse mix is chock full
of unanticipated surprises such as "Elvin's Birthday Song," highlighted by
Kullhammar's lighthearted and bouncy soprano sax phrasings, and steered by
bassist Torbjörn Zetterberg who anchors the flow and pitch. Here, drummer Espen
Aalberg expands the soundscape with sweeping fills and polyrhythmic beats.
The trio spirals into the stratosphere on the final track, "Moserobie Blues."
Kullhammar's extended tenor sax solo, is perhaps a stylistic nod to John
Coltrane's awe inspiring hard bop solos, evidenced on Blue Trane (Blue Note
Records, 1957), for example. Thus, Kullhammar's rapidly paced and blistering
harmonic progressions enact a whirlwind exposition atop the rhythm section's
whizzing pulse. Indeed, a high-caliber and multidimensional outing by this
resourceful unit.
--
By Stefan Wood
http://www.freejazzblog.org/2014/04/jonas-kullhammar-basement-sessions-vol.html
By Bird is the worm
http://www.birdistheworm.com/kullhammar-aalberg-zetterberg-basement-sessions-vol-2/
Por Bernardo Álvares (pt)
http://www.jazz.pt/ponto-escuta/2014/02/08/kullhammar-zetterberg-aalberg-basement-sessions-vol2-clean-feed/
