The Sound of a Well-Chilled Sazerac

Critics in Sweden derided Gullin’s music as “fäbodjazz” (a “fäbod” is a cattle shed) —unsophisticated farmer’s music that did not sound American enough. Despommier argues that “Gullin was drawing on Swedish folk music the same way American jazz musicians were feeding off blues and spirituals. Whether goat herders or sheep come to mind, this Swedish tinge gives Gullin’s music unique flavor and identity. It permeates his music in a way that feels soulful and authentic.” By the time he died, Gullin was recognized as something of a national treasure. His life and death was the basis of the 1976 movie “Sven Klang's Combo,” voted one of the top 25 Swedish films of all time.

The nine cuts on “A Midsummer Odyssey” recall the legendary early ’60s collaborations of Paul Desmond – famous for his Dave Brubeck collaborations like “Take Five” – with guitarist Jim Hall. The early Jimmy Giuffre Trio recordings, also with Hall, provide another useful reference point. But in the end, these similarities do not weigh Despommier’s and Monder’s conversations down. Gullin’s compositions have a timeless quality, and the duo’s interplay is sensitive and fresh. No overproduction here.

Desmond’s playing was widely known as “the sound of a dry martini.” With “A Midsummer Journey,” Despommier calls to mind a well-chilled Sazerac. Tart and sweet, with just a touch of nostalgia, it goes down smooth and, like a good Sazerac, one taste will leave you craving another.