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Magnus Dolerud, Hans Backenroth, and Oscar Johansson Werre: Trio Circle

By Jim Worsley
March 25, 2022
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Tried and true formats have been revisited time and time again over the years. The saxophone trio is amongst that core group. In the right heads and hands, such a trio offers the opportunity for new freedoms, and for inventiveness to blossom, mature, and travel. While Trio Circle's charted arrangements bring symmetry to the project, it is their uncharted methodology that delightfully proves the old adage that "the journey outweighs the destination."

Trio Circle consists of tenor saxophonist

Magnus Dolerud

saxophone, tenor

" data-original-title="" title="">Magnus Dolerud, bassist

Hans Backenroth

bass

" data-original-title="" title="">Hans Backenroth and drummer

Oscar Johansson Werre

drums

" data-original-title="" title="">Oscar Johansson Werre. Their debut voyage sets sail with a cohesive set of Dolerud originals and reimagined jazz classics. Throughout , the trio of Swedish veterans is tightly knit and clearly focused on respecting the music. After Dolerud's mood-setting "Prelude" accomplishes its goal, his original, "Contours," further establishes the hue and environment. All three musicians are able to move about and compliment one another in a manner that deftly signifies where this ensemble is coming from. Freedom to shape the music in the moment is further explored on "Nardis." A somewhat bold choice in as much as the

Miles Davis

trumpet
1926 - 1991

" data-original-title="" title="">Miles Davis standard has been rerecorded, reexamined and reconstructed countless times. And at that, by a contingent of jazz legends. Confidence not lacking, the trio breathe new life into the tune, in the literal sense of the word. Dolerud's breathing techniques, coupled with clever stops and starts put his own stamp on it. For good measure, Backenroth and Werre flourish in groove and pocket chemistry. Davis' tune is sandwiched between originals, with Dolerud's other composition up next. "Sober" is harmonically brilliant. Werre's delicately applied brushes in response to the bright lines of Backenroth, and Dolerud's both running and cunning note selections triggered a forceful yet fluid run with changes abundant. Dolerud has long had an affinity for the work of

Billy Strayhorn

piano
1915 - 1967

" data-original-title="" title="">Billy Strayhorn. Not surprisingly then is an uptake on Strayhorn's "U.M.M.G." Dolerud's extensive vocabulary is mindfully punctuated by his well schooled rhythm section. The song is played with vigor and featured a sparkling dialogue between Dolerud's intuitive feel and Backenroth's finger popping licks..

It's impossible to miss the immediate tip of the cap to the unique bounce of

Thelonious Monk

piano
1917 - 1982

" data-original-title="" title="">Thelonious Monk. "Bright Mississippi" lights up in neon and is a fine mid point sequence adrenaline rush. Dolerud's tenor joyfully (it's Monk, is the any other way?) relishes the moment, with Weere's crisp drum solo. Dolerud lets his hair down and is greeted by Backenroth's frisky bowed interpretation. They close it back in trio and with the momentum still in full swing. On a record full of energy, "Evelyn" yearns for a moment of contemplation. A traditional harmonic lark finds the trio tantalizingly engaged in a spacious lilt that beckons for only Evelyn, and cleverly finds melody in the pursuit.

Tadd Dameron

piano
1917 - 1965

" data-original-title="" title="">Tadd Dameron's "If You Could See Me Now" is yet another vintage tune that yields well to reinterpretation. While a unique takes on jazz hybrids is often the formula for modern jazz, here the trio binds to a gently swinging gait. Its shine comes from the bold confidence in Dolerud's demeanor and his contrasting soft swagger. It's hard to imagine even

Cole Porter

composer / conductor
1891 - 1964

" data-original-title="" title="">Cole Porter not tapping his toe and smiling in appreciation to the trio's take on his "It's All Right With Me." The seven-minute-plus romp is jazz swing in all its glory. The sonic chart reinvents the melody again and again with Dolerud leading the charge with inventive changes. Backenroth and Werre have time to stretch out, play some chops and pops, and thrive in trio unison. That could well have been a show stopper, or record ender, as it were, but if you have an arrangement of an

Ornette Coleman

saxophone, alto
1930 - 2015

" data-original-title="" title="">Ornette Coleman tune on hand then... "Broadway Blues" is served up hot with Dolerud on the fly. Backenroth and Werre never stray from their deep pockets and are always pushing it forward, embellishing along the way. They play it as a hot groove. A groove that Dolerud was smoking and smoldering inside of for the duration.

This inaugural record is untethered by fussy arrangements and lets the cats play. The complexities are drawn individually and sewn together by their musical commonalities. It's a trio of equal measure. If there is a flaw, it would be that with the exception of the Cole Porter tune, they mostly play four to five minute versions. It's a tough call with declining attention spans these days. More isn't always better, but this is the kind of jazz ripe to breathe.

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Track Listing

Prelude; Contours; Nardis; Sober; U.M.M.G.; Bright Mississippi; Evelyn; If You Could See Me Now; It's All Right With Me; Broadway Blues.

Personnel

Magnus Dolerud

saxophone, tenor

Hans Backenroth

bass

Oscar Johansson Werre

drums

Album information

Title: Trio Circle | Year Released: 2022 | Record Label: Prophone Records

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