Peter Danemo is a sought-after drummer who has consistently run his own projects alongside his work—such as Meloscope and Peter Danemo Kapell, for example. And of course, LED, the group for which Danemo arranged Led Zeppelin songs. His already extensive discography has now been expanded with three more albums, each of which reflects Danemo’s versatility.
The album Vägen was recorded back in 2009. It features a trio format—a meeting with two musicians Danemo had never previously played with: pianist Klas Nevrin and bassist Pär-Ola Landin. Everything is entirely improvised and created in the moment. The improvisations are strikingly focused and never directionless. They range from quietly contemplative—inviting associations with ECM—to more expansive and extroverted passages, with especially inspired playing by Nevrin. Vägen is an album that grows with each listen.
Resonansium, on the other hand, is a big band album. In 2015, Peter Danemo served as guest composer for Norrbotten Big Band, which resulted in the album Hedvigsnäs, released on Prophone the following year. Resonansium features four pieces that didn’t make it onto Hedvigsnäs. What’s striking is how free Danemo’s compositions are from all the clichés of big band jazz—especially in the longer piece Ember, which begins with rhythmically diffuse mood painting, where the orchestra’s sound meets live electronics. Dan Johansson’s trumpet interjection with effects here is reminiscent of how George Russell, in his later years, allowed his compositions to be colored by Palle Mikkelborg’s electrically amplified trumpet. Even though the album features strong contributions from soloists such as Robert Nordmark, Håkan Broström, and Adam Forkelid, the core is still Danemo’s ambitiously composed music for the big band.
The most substantial of the three albums, in my opinion, is Gläntan. Here, Danemo has written for an ensemble that includes both jazz musicians and classically trained players. The combination of cello, violin, flute, and clarinet lends the compositions a delicate and sonically beautiful character. With few exceptions, the music is lyrical and restrained. Compared to the big band album, the soloists here leave a more distinct mark on the music and deepen it with sensitive playing. This is true of pianist Britta Virves, and of course also Joakim Milder. He never wastes notes or overworks his solos—and he possesses an unmistakably beautiful tone on both tenor and soprano saxophones.
– Jörgen Östberg – Orkesterjournalen 2025