{"id":2270,"date":"2025-05-29T11:30:24","date_gmt":"2025-05-29T11:30:24","guid":{"rendered":"https:\/\/danemo.com\/?p=2270"},"modified":"2025-05-29T11:30:24","modified_gmt":"2025-05-29T11:30:24","slug":"review-orkesterjournalen-no-2-2025","status":"publish","type":"post","link":"https:\/\/danemo.com\/?p=2270","title":{"rendered":"Review \u2013 Orkesterjournalen No. 2, 2025"},"content":{"rendered":"\n
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Peter Danemo is a sought-after drummer who has consistently run his own projects alongside his work\u2014such 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\u2019s versatility.<\/p>\n\n\n\n

The album V\u00e4gen<\/em> was recorded back in 2009. It features a trio format\u2014a meeting with two musicians Danemo had never previously played with: pianist Klas Nevrin and bassist P\u00e4r-Ola Landin. Everything is entirely improvised and created in the moment. The improvisations are strikingly focused and never directionless. They range from quietly contemplative\u2014inviting associations with ECM\u2014to more expansive and extroverted passages, with especially inspired playing by Nevrin. V\u00e4gen<\/em> is an album that grows with each listen.<\/p>\n\n\n\n

Resonansium<\/em>, 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 Hedvigsn\u00e4s<\/em>, released on Prophone the following year. Resonansium<\/em> features four pieces that didn\u2019t make it onto Hedvigsn\u00e4s<\/em>. What\u2019s striking is how free Danemo\u2019s compositions are from all the clich\u00e9s of big band jazz\u2014especially in the longer piece Ember<\/em>, which begins with rhythmically diffuse mood painting, where the orchestra\u2019s sound meets live electronics. Dan Johansson\u2019s trumpet interjection with effects here is reminiscent of how George Russell, in his later years, allowed his compositions to be colored by Palle Mikkelborg\u2019s electrically amplified trumpet. Even though the album features strong contributions from soloists such as Robert Nordmark, H\u00e5kan Brostr\u00f6m, and Adam Forkelid, the core is still Danemo\u2019s ambitiously composed music for the big band.<\/p>\n\n\n\n

The most substantial of the three albums, in my opinion, is Gl\u00e4ntan<\/em>. 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\u2014and he possesses an unmistakably beautiful tone on both tenor and soprano saxophones.
– J\u00f6rgen \u00d6stberg – Orkesterjournalen 2025<\/em><\/p>\n\n\n\n

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Peter Danemo is a sought-after drummer who has consistently run his own projects alongside his work\u2014such 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\u2019s versatility. … <\/p>\n

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