This is a fine duo album with compositions from the two musicians that draw influences from John Cage, Wayne Shorter and Charlie Haden, and who also dip their toes into the murky waters of free improvisation suggesting another avenue of exploration.
Arts Music artscd003
Lars Jansson (piano, organ); Thomas Agergaard (tenor & soprano saxophones, alto flute)
Recorded March/April 2022
I first heard pianist Lars Jansson with the Jan Garbarek Group way back in 1988. It was Garbarek’s touring band, and I caught the second night of a tour of the UK and beyond and only the second time the quartet had played in public (they debuted in London the night before).
Jansson was playing keyboards as opposed to the acoustic instrument, but his impact on Garbarek’s music and his solo contributions left a lasting impression.
Somehow over the years I have lost touch with Lars playing and recorded output, so it was a real pleasure to renew my acquaintance with the pianist on this duo record with a very different saxophonist in Thomas Agergaard.
In an album of original compositions and improvisations, the only recourse to the standard repertoire is a beautiful reading of Gershwin’s ‘I Loves You Porgy’, Jansson and Agergaard are able to retain the attention with a delicate and interesting sound palette and some fine melodies that are played with sensitivity by both musicians.
Jansson plays with a subtle rhythmic feeling that has a very solid yet fluid quality. He is able to follow the saxophone line wherever Agergaard deems appropriate to take it, always keeping the rhythmic support solid and dependable but with a lightness that lifts the music.
The rubato playing on the title track exemplifies this trait, with the tenor saxophone treading with a sure-footed purpose supported by Jansson, while the pianist takes a more expansive approach on another of his compositions ‘Kids Playing’ that feature Agergaard on soprano saxophone.
This immediately followed by ‘Guided From Within’ and is the first time we hear Agegaard on alto flute. Supported by both piano and organ from Jansson, the sound of the alto flute is truly mesmerising, and although the piece is played through in just three and half minutes it did leave me wanting to hear more.
Thankfully, Agergaard was willing to oblige and his playing on Jansson’s ‘A Rare Italian Bird’ and ‘Receiving’ are both welcome highlights. His improvision on the latter is made up of lovely little phrases and melodic lines that emphasise the range and tone of the alto flute, and poses the question why is it not more widely used?
Agergaard as well as providing the lovely sound of the alto flute also proves himself to be a distinctive composer, and his piece ‘Memories of Summer’ is a delightful melody that brings to the fore his sound on the tenor saxophone.
Full and round in the middle and lower register, he also possesses and delicate and light sound in the upper register that provides a delicious tension to his phrases.
Breaking up the set of formal compositions, the two musicians present two short ‘suites’ in ‘Birds Flying Suite 1’ and ‘Birds Flying Suite 2’ in which they step into the uncharted waters of free improvisation. It appears that this is the first time that the duo has attempted to create music in this way, but these suites are packed with a total conviction for the endeavour and the results produce some compelling music.
Interestingly on these short, improvised suites Agergaard favours the alto flute as opposed to his saxophones, and his lines are clear, concise and incisive.
This is a fine duo album with compositions from the two musicians that draw influences from John Cage, Wayne Shorter and Charlie Haden, and who also dip their toes into the murky waters of free improvisation suggesting another avenue of exploration.
