Dan Berglund’s TONBRUKET (ACT Music) is released on 1 March, 2010.

Bassist Dan Berglund became world-famous as a member of jazz trio e.s.t., one of the most influential jazz and successful jazz bands of the last decade in Europe. While the piano, under the fingers of Esbjorn Svensson, represented classic jazz influences, Berglund’s bass work led to him earning the reputation as the rock ‘n’ roller of the trio. Svensson’s tragic death in June 2008 forced Berglund to re-orientate himself; he played with many old friends fom his time before e.s.t.. It was from these sessions a new band slowly crystallised: Tonbruket (Swedish for the big workshops which produce sounds). “We liked the sound of this expression - particularly because our tiny, four-man ‘factory’ also researches and produces. We produce sounds which, when they come together, hopefully become good music,” explains Berglund.

Tonbruket doesn’t want to forget his past, and nor will he do so. “e.s.t. is part of my history; it influences my playing and my composing, even today. I was part of it and it was part of me and it will always be like this - exactly as my hard rock past has always been part of me,” says Berglund. Typically from a musician like Berglund, his new project also takes unexpected musical twists and turns. Tonbruket’s musicians have very different backgrounds, and all four musicians contributed compositions, arranged and produced. Guitarist Johan Lindstrom during the 90s played in the band Per Texas Johansson. The lap and pedal-steel specialist was also a member of Kristofer Anstrom’s Runaways, and played with Swedish singer/songwriter Sophie Zelmani. Pianist and keyboardist Martin Hederos comes from an alternative rock background, as a member of The Soundtrack Of Our Lives. Drummer Andreas Werlin can be heard playing anything from folk to free jazz with the Swedish experimental duo Wildbirds & Peacedrums.

Because of this musical diversity, Tonbruket displays a diverse range of sounds. ‘Song For E’ is ambient and drum ‘n’ bass, ‘Sister Sad’ is an art rocker, ‘Monstrous Colossus’ is reminscent of the pro-heavy sounds of Emerson, Lake and Palmer. The acoustic riffs on ‘Stethoscope’ and Gi Hop exhibit a contemporary alternative folk sound. Berglund’s admiration for pop and post-rock revolutionaries such as Radiohead, Arcade Fire, Tortoise and Royksopp can also be heard.

‘Sister Sad’, opens the album and rapidly became one of my favourite tracks. It’s a distinctive song which builds from an unhurried, contemplative jazz sound with guitar becoming a major focus, to a hefty rocker. There’s an art movie ambience to the track which is driven by a sublime melody. It’s atmospheric, accessible and one of the finest modern instrumental pieces I’ve heard for some time. ‘Stethoscope’ is a riff-dominated, dark, threatening composition which towards the end slows pace, like a train pulling into a station. ‘Sailor Walz’ has a classical feel with its wandering piano notes and mournful string moments. At nearly ten-minutes, it’s the longest piece here but held me in its beautiful spell. There’s strong hints of jazz also mainly induced by the throbbing double bass sounds, soon followed by the most expressive string passages. It’s an extraordinary and melodic track that momentarilly reminded me of the Dirty Three.

‘Gi Hop’ treads a very different pop-influenced path with its stronger rhythmic backdrop reinforced by clapping sounds, and another strong melody. Very different, very good. The diversity of sound continues with folk influenced ‘The Wind And The Leaves’, lighter pop ambience of the piano-dominated ‘Wolverine Hoods’, and the alternative rock and blues vibe of ‘Monstrous Colossus.’ There’s also the easy-listening, jazz ambience of ‘Song For E’, the highly lyrical, sadness of ‘Cold Blooded Music, and finally the laid-back country and western
tinged ‘Waltz For Matilda.’

I love this album for its richness of diversity, the wonderfully crafted nature of its writing and playing, and its production, which brings out every nuance of the performances. But perhaps most of all, because of the way the music paints pictures without words, in the finest classical and jazz music tradition. If there’s one instrumental album you buy in 2010, make it this one.

4.5/5