The studio date begins, appropriately enough, with the first of two compositions by Persson, “Blue in 3/4,” on which the rhythm section quickly validates its staunch work ethic while Samuelsson sculpts a captivating muted solo worthy of Persson himself. Cole Porter’s “What Is This Thing Called Love,” taken at a rapid tempo, precedes four originals by Samuelsson, a pair by Gösta Theselius, Persson’s “Monotones” and two more themes by Samuelsson, closing with a second version of Samuelsson’s “A License to Chill,” on which a number of electronic devices are used to underscore Christoffer Berg’s contemporary arrangement.

Samuelsson has a velvety tone that Persson would no doubt have admired (listen to “Statement” or “Alone at Last,“ for example), and his supple chops are equal to any task, sounding a bit more like young lions Andy Martin or Mark Nightingale than, say, Bill Harris, J.J. Johnson, Persson or the Danish star Kai Winding, who epitomized a different era. Theselius’ breezy “Nassie Goreng” and “Mountain Music” are especially charming, as Samuelsson uses overdubbing to become a “trombone section” and solos open and with various mutes.

The mercurial “Monotones,” which would have tested even Frank Rosolino‘s unrivaled artistry, is another highlight among many, encompassing acrobatic slidework by Samuelsson and one of several dazzling solos by pianist Tommy Kotter. Samuelsson’s graceful “Aake” overflows with admiration for his illustrious precursor.

A warmhearted salute from one great trombonist to another, enhanced by state-of-the-art sound and unflagging rhythmic support. In other words, one Letter that should be opened, read and appreciated.

Jack Bowers - Allaboutjazz.com

http://www.allaboutjazz.com/php/article.php?id=20835  

Jazz Formation pays tribute to Swedish trombonist Åke Persson, a talent whose name might be unfamiliar to many jazz fans but whose reputation in European circles places him alongside J.J. Johnson and Curtis Fuller. He earned this reputation in the fifties and sixties backing many visiting American jazz luminaries and cutting just a few sides between 1951 and 1959. He died in 1975, one year before Samuelsson was born.

Samuelsson manages to pay homage to this little known but obviously influential musician without sacrificing his own budding and distinct voice.
The disc kicks off with one of two Persson compositions, “Blue 3/4,” in which Samuelsson takes a down-home stride with a natural feeling for the blues. The quartet's reading of “What Is This Thing Called Love” is bursting with energy as Samuelsson channels the elder trombonist's hard bop roots amidst the rhythm section's modernist twists.

“Nassie Goreng” and “Mountain Music” find Samuelsson flexing considerable muscle as an arranger, using overdubbed trombones to emulate an entire section. The latter piece features Åke Persson's recorded solo arranged in four parts. Samuelsson contributes six of the twelve selections, including the darkly beautiful “Statement” and warm, open “Alone at Last.”

The second Persson composition, “Monotones,” shows how dangerous the rhythm section can be when provoked by high-octane swing. Samuelsson's
“A Done Deal” and ”License to Chill” (the latter complete with a trippy companion remix) finds the quartet pursuing more modern sounds, lest the listener be tricked into thinking that its approach is consistently retro. Far from it. The influence of Persson's playing manifests itself as a launching point for a wide range of styles and ideas that are uniquely Samuelsson's domain. One can trace a direct lineage from the post-war trombonists' newfound facility for the vocabulary of bebop to Samuelsson's capacity for the demands of the modern language of jazz. It is a smooth transition -
one worth noting, especially by those who might deign to impose constrictions of genre on his work.

Björn Samuelsson's debut promises great things. It will be interesting to see if this particular group of musicians will be able to stay together long enough to develop an even deeper rapport, as all four share an uncommon empathy and sense of fun. With Jazz Formation, Samuelsson proves himself to be a first-rate musician with exceptional creative powers.

Ken Kase - Allaboutjazz.com