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Matthew Ruddick

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Author of Funny Valentine, an acclaimed new biography of the jazz trumpet player and singer, Chet Baker.
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Tuesday, 26 July 2016 02:00

Forevergreens – Tonbrucket

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Bass player Dan Berglund's band, Tonbrucket, serve up an eclectic mix of styles on their fourth album.

Forevergreens is an interesting eclectic collection of pieces, scoping across rock, progressive, jazz and pop but not settling anywhere in particular.

The first track is actually a verbal introduction (30 seconds) in Spanish to the music of Tonbrocket, that music is a universal language of music and we should embrace the beauty in new things. I read this as an imploring to listen to the music for what it is and not to prejudge by its wide scope – fair enough!

Mano Sinistra opens the music stridently with seemingly discordant sliding tones but quickly settles into a predictable repeat; heavily electronic with minimalist percussion. Without changing pace, the second half develops more freehand overtones but the piece never quite reaches the peak promised by the opening. Acoustic guitar opens Sinkadus, joined by accordion-like keyboard.  A particularly fine track, the keyboard melody is intriguing and evocative, almost vocal. When Andreas Merliin’s drums cut in, an extra depth is created and the piece develops a nice sustained round. Dan Berglund’s bass is quite subdued until he takes a melodic lead in the mid-section.  The wordless crooning of guest Ane Brun towards the end fits nicely and adds to the overall atmosphere.

I’m assuming Tarantella owes its title to the Italian folk dance; however, rather than the frenetic pace of the traditional, this piece is slow and stately. Every time I hear this track I’m convinced it is going to turn into a version of Norman Breenbaum’s Spirit in the Sky.  I feel a little disappointed that this piece does not develop into something more interesting.

A pleasant, quiet piece, Music For The Sun King reflects the title perfectly. Johan Lindström’s slide guitar and Martin Hederos’ piano fit nicely, even if the piece is a little predictable. The Missing is another simple quiet piece with keyboards and guitar providing the melody.

Froson is a slow, melodic piece that leans heavily on interaction between piano and bass. Rhythmic changes and guitar intercessions manage to hold interest throughout.

A heavy repetitive piece with relentless pounding bass, Linton provides an energetic contrast to the quiet preceding tracks.  Lots of overdrive and soloing a lovely ‘fuzzy’ organ sound that I’ve not heard since the seventies.  However, while the dynamic energy of this piece is appreciated, it could have developed into something more.  Perhaps it comes across better in a live performance?

Piano solo opens First Flight Of A New Bird leading into a very slow piece featuring guitar lead. Pace and dynamics pick up halfway through (as the bird masters its wings?). Passage Europa is a short (74 seconds) heavy track with dominant, overdriven keyboards, that seems to function as a simple sound picture.

After a violin and guitar introduction over electronic sounds, Polka Oblivion develops into a courtly dance piece with violin and bass circling each other over a guitar backing.  Features guests: Per Texas Johansson on bass clarinet, Martin Holm on tenor sax, and Anne Hogberg on baritone sax. This is my other favourite track of the album, displaying dynamic shift and progression without room for repetition or predictability.

All-in-all Forevergreens is a comfortable and pleasant album; the musicianship is undeniable and the sound balance perfect. 

However, with the exception of the two excellent tracks mentioned, the rest of the album feels a little formulaic and unchallenging.

If the thoughtful melodic elements demonstrated in some tracks were to incorporate the dynamic changes exhibited in others, the results could be far more exciting!

 

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