Album:  Lifelines /  Bruno Raberg /  Two CD set / 

 

Reviewed by Chad Langford

 

I am very pleased to say that I was given a beautiful new two-disc set to vet, none other than Lifelines, the new album from Swedish doublebassist Bruno Råberg and his excellent band of impressionistic jazzers.  This recording marks Råberg's sixth as a leader, and though I must confess that I had not heard his music, before hearing Lifelines, I've certainly heard of him now.

 

Råberg emigrated to the U.S. from his native Sweden in 1981 and since that time, he has been increasingly active on the international scene.  With many recordings as a sideman under his belt, he has also produced six albums as a leader, and has been a teacher at Boston's Berklee College of Music since 1986.

 

Many of the tracks on Lifelines are all about melody and rhythm, with the bass acting as both the melodic leader and as a super-solid, grooving foundation by turns.  As you might expect, many of Råberg's compositions feature his signature bass melodies which either settle into, or spring out of his wonderfully melodic structural riffs.  The arrangements and orchestrations within the combo are beautifully done, and they take full advantage of a variety of timbres and possible combinations for each of the instruments.

 

Disc one of Lifelines is titled the “Blue Disk”.  Råberg starts things rolling with “Agog,” which opens an extended introductory duet between Råberg and drummer Ted Poor. Råberg’s tone here is like dry wood; it’s muscular, full, and beautifully recorded.  “Agog,” sets the mood for the entire album, with it’s  dancing, shifting rhythms and lines, which are harmonized in beautiful and unexpected ways.  With a generous helping of meaty groove,  “Agni,” is a gauzy, transparent ballad, featuring Chris Cheek’s revolving saxophone melody, which delicately intertwines with Ben Monder’s guitar patterns.  The next three tracks, “April Suite,” “Chosen Path,” and “Lifelines,” provide nice vehicles, for reflective solos by each of the players, in particular, percussionist Ted Poor’s solo at the end of “April Suite,” where, like the intro to “Agog”, he uses soft clicks and subtle cymbal work to help build the tune to a final climax.

 

The next four tracks, "Revisited Path," "Intersection," "Moondown," and "An Afternoon By The Meadow," were written by the entire group and the songs originated with collective improvisation.  The back-to-back improvisations provide a welcome interlude from the structured, carefully composed, and moody atmospheric tracks which surround them.  Indeed, several of these were among my favorite tracks on the album, in particular "Intersection," and the beautifully sparse "Moondown."

 

The lazy, melodic brushstrokes that open “Gymnastics / Skyscapes,” are vertigo inducing, nicely balanced and possess a more rhythmically straightforward B-section.  The first disc closes with the beautiful, unaffected, “Ballad For Summer’s End.”  Råberg’s solo in, “Ballad For Summer’s End,” is insistent, with lovely, melodic twists and turns.

 

Disc two, the Red Disc opens with “Elegy,” a track which grows gradually from a dark, hazy atmosphere, and slowly solidifies into a gorgeous, simple melody.  On this album, you are keenly, aware of the imaginative, solo accompaniments which each of the players comes up with, and at just the right moment. One such example, is the song, “Elegy.”

 

“Fora Do Retrato,” is a slow, wistful ballad, followed by the raucous “Cosmic Kerfuffle.”  For this song, the band gets a chance to cut loose, with waves of distorted guitar and heavy drums which keep the energy level high.  “Expectation,” is the only straightforward swinging track on the record.  It is nice to have our expectations fulfilled and to hear some pushy swing, after so many straight tracks and atmospheric ballads.  It is the only track without Monder’s guitar, and the open bass/sax/drums trio’s texture is wonderful.  Chris Cheek takes a nice sax ride through these ambiguous changes, followed by Råberg himself, and there is an assured, melodic solo by the album’s other drummer, Matt Wilson.

 

The next four tracks from disc two were improvised by the group, and are  interesting studies in texture.  “Distant Roads,” is particularly effective, in its use of acoustic spaces and percussion sounds, which bring to mind a boundless horizon and create an ambience of vague menace.  The album closes with “New Land,” a straightforward groove comprised of sparse drums, a warm bass and guitar.

 

There is much to enjoy on Lifelines.  The performances are exciting and polished, the solos fluent and thoughtful.  For me, the real strength of this record is the imaginative quality of the writing and the arranging, which treat the listener to the beautiful and unexpected.   Congratulations to Råberg and company for an impressive double album.

 

 

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Reviewed October 2008

Chad Langford is an American bassist and composer from Montana, and now resides in The Hague, Netherlands. His music has been performed throughout the United States and Europe. Please visit the Chad Langford website at www.chadlangford.com