{"id":10446,"date":"2018-10-21T17:59:53","date_gmt":"2018-10-22T00:59:53","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=10446"},"modified":"2018-10-21T19:36:02","modified_gmt":"2018-10-22T02:36:02","slug":"recent-listening-bruno-raberg-with-barth-and-cruz","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/10\/recent-listening-bruno-raberg-with-barth-and-cruz\/","title":{"rendered":"Recent Listening: Bruno R\u00c3\u00a5berg With Barth and Cruz"},"content":{"rendered":"

Bruno R\u00c3\u00a5berg<\/strong> Trio, Tailwind<\/em><\/a> (Red Piano Records)<\/p>\n

\"\"<\/a>R\u00c3\u00a5berg\u00e2\u20ac\u2122s bass\u00e2\u20ac\u201dat once relaxed and penetrating\u00e2\u20ac\u201dis at the heart of a collection of his compositions. The sole piece written by someone else is Jimmy Van Heusen\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Here\u00e2\u20ac\u2122s That Rainy Day,\u00e2\u20ac\u009d a feature for the leader\u00e2\u20ac\u2122s seductive bowing. R\u00c3\u00a5berg follows the Van Heusen with his own \u00e2\u20ac\u0153Rainy Day Farewell,\u00e2\u20ac\u009d which he may have conceived with Jamaica and Harry Belafonte in mind. Adam Cruz\u00e2\u20ac\u2122s drum pattern supports that notion. Throughout, Cruz and pianist Bruce Barth back R\u00c3\u00a5berg with sensitivity and close attention to his harmonic departures. That unity is particularly effective in \u00e2\u20ac\u0153Tailwind,\u00e2\u20ac\u009d the album\u00e2\u20ac\u2122s title tune. Into the structure R\u00c3\u00a5berg builds what we might call rolling interludes that enhance the piece\u00e2\u20ac\u2122s forward motion.<\/p>\n

The ballad \u00e2\u20ac\u0153A Closer Look,\u00e2\u20ac\u009d dating back more than three decades, is a piece that R\u00c3\u00a5berg and Barth played together in their early years In Boston, not long after the bassist arrived in the United States from Sweden to attend the New England Conservatory. Rather than a peaceful survey, the energy of \u00e2\u20ac\u0153Paris Window\u00e2\u20ac\u009d might portray a busy excursion down the Champs Elys\u00c3\u00a9es. On the other hand, \u00e2\u20ac\u0153Lone Tree Hill\u00e2\u20ac\u009d is as peaceful as its title indicates, Barth\u00e2\u20ac\u2122s rippling runs and full chords contrasting with Cruz\u00e2\u20ac\u2122s chattering drums and cymbals before the track falls slowly away. Each of the two takes of \u00e2\u20ac\u0153Le Candide\u00e2\u20ac\u009d has its own lively personality, the first driven by the conversational interchanges between R\u00c3\u00a5berg and Cruz, the second dominated by the masterful variety in Barth\u00e2\u20ac\u2122s piano choruses. As usual when listening to Barth, one wonders why he isn\u00e2\u20ac\u2122t mentioned more often in discussions about major pianists.<\/p>\n","protected":false},"excerpt":{"rendered":"

Bruno R\u00c3\u00a5berg Trio, Tailwind (Red Piano Records) R\u00c3\u00a5berg\u00e2\u20ac\u2122s bass\u00e2\u20ac\u201dat once relaxed and penetrating\u00e2\u20ac\u201dis at the heart of a collection of his compositions. The sole piece written by someone else is Jimmy Van Heusen\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Here\u00e2\u20ac\u2122s That Rainy Day,\u00e2\u20ac\u009d a feature for the leader\u00e2\u20ac\u2122s seductive bowing. R\u00c3\u00a5berg follows the Van Heusen with his own \u00e2\u20ac\u0153Rainy Day Farewell,\u00e2\u20ac\u009d […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-10446","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10446","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=10446"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10446\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=10446"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=10446"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=10446"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}