The history of jazz has many examples of "main star plus rhythm section", put together for the first time in a studio or for a short tour. These momentary encounters have sometimes resulted in strong and imaginative music. But all too often, the result ha s been nothing more than just another blowing date, good from the standpoint of handicraft but lacking in deeper aesthetic and emotional qualities. However, this record is not of that kind!

What the members of Brus Trio and John Tchicai did this night at the Fasching Club was play themselves into a group, thus avoiding the above mentioned "soloist plus rhythm section" syndrome.

Brus Trio, which on its own is one of Sweden's most fruitful collaborations these days (being heard on their own album "Before Coffee", Dragon DRLP 62), never tries to force their group formulas on Tchicai. And Tchicai, who, one may guess, is supposed to be the star of the date, has enough courage not to dominate in a way that would make Brus Trio just another interchangeable rhythm section.

Do not, however, interpret this to mean that the musicians decided to play it safe, relying on familiar patterns. Instead, both sides engaged in a musical give-and-take process, stating their own ideas and at the same time generously accepting and support ing each other, that way making way for a beautifully constructed balance which in fact is the sound of a working group that found a style of its own.

John Tchicai - widely known as the Danish altoist who in the sixties, together with artists like Archie Shepp, Don Cherry, Albert Ayler and John Coltrane, helped develop the new jazz and who nowadays is most active with his own group and with, among other s, Pierre Dorge's highly celebrated New Jungle Orchestra - favors the tenor sax, occasionally doubling on soprano, and voice. Tchicai's style is a nice synthesis of own melodic ideas, influences from the "free" jazz of the sixties, different African trad itions (which is most evident in his use of his voice) and more current jazz forms. His personal, smooth but forceful sound helps him in his honest search for new musical combinations. As you will hear, he is a sensitive listener, too, always aware of his surroundings and quick to respond to whatever happens.

Brus Trio doesn't lack any of these qualities. Just hear Arne Forsen, the finest young modern jazz pianist in Sweden today, spinning away in masterful examples of thematic development, leading the music to places you hardly expected and yet keeping his br illiant sense of form and interplay. Listen to Ulf Akerhielm's witty driving when he plays walking bass, or his virtuose bowing when he steps up in front, exposing his love for both classical music, jazz and Swedish folklore. Hear Gilbert Matthews - South African by birth and well known for his collaborations with people such as Abdullah Ibrahim (Dollar Brand) and the late Johnny Dyani - dancing all over the music in his very personal celebration of pulse and rhythm, driving and swinging, yet listening an d responding ever so closely to the others.

Simply put: hear this group make great music! For, in spite of the fact that these four musicians played together for just a couple of weeks (this being the last night of an extensive Swedish tour), a group is what they became and great mu sic is what they created!

Christian Munthe