”It was too early for that kind of thing. The setup included - amoung other gadgets - samplers and octapads with sampled vocals. They formed a band called ”Stock Street B”. In 1989 after a break of a few years Magnus and Esbjörn hooked up again and started jamming together. ”Playing live, especially with a singer is the best school in the world for a young drummer”, he says. Between 19 he was a constant member of Monica Borrfors band, a well-known Swedish jazz vocalist who played mainly jazz standards and together they toured extensively throughout Sweden and beyond. He immediately started to play in different bands on Stockholm ́s jazz scene. In 1985 Magnus moved to Stockholm to study at the Royal Conservatory of Music. From 1983 to 1985 he then studied music at Sjöviks folk high-school. During those years Esbjörn and Magnus had their first trio together. From 1981 to 1983 Magnus studied at the music highschool (Gymnasium) in Västerås. Aged 13 to 16 Magnus had several bands simultaneously together with Esbjörn Svensson playing all different styles, from dance-music to punk. This experience turned his musical world upside down and got him into jazzrock. In 1978 his brother took him to a concert of Billy Cobham with John McLaughlin.
The band was called ”Beware Of The Beginners”. Another year later he performed his first concert. Magnus received his first real drumkit only one year later as a christmas present. At the age of eight Magnus built his first drumkit out of his fathers empty paintcans and only a year later he started his first band together with a kid from across the street, Esbjörn Svensson. His brother Tommy was three years older and influenced Magnus in his early years with his eclectic record collection including Jimmy Hendrix, Deep Purple, Almond Brothers and Lynyrd Skynyrd. Magnus Öström was born on May 3rd, 1965 in Skultuna, Sweden as second son to local painter Arne and Siv Öström. Take the perfectly poised ‘rallentando’ which concludes the title track, or the wry questioning of “Sacred Mind”, or the flawlessly, crisply precise ‘envoi’ of “Desert of Catanga.” This album provides a reminder that worthwhile creative processes take time to mature. “Cloudland” richly rewards listeners’ patience one of its very special features is the variety of its beautifully crafted endings. This is also the Liberetto debut for Syrian-born clarinettist/ composer Kinan Azmeh, a multi-talented player with a poet's sense of phrasing. His philosophy is this: “If it sounds natural then it doesn’t really matter what meter it’s in.” Another new feature is the first outing for a five-string bass-cello hybrid, a rebuilt 18C instrument, which Lars Danielsson plays gloriously, ‘arco’ on “Vildmark” and then pizzicato on “Tango Magnifique”. There are new elements too: there has been an emboldening of Danielsson’s desire to work in asymmetric meters. And the way Arve Henriksen takes the solo lead in the title track “Cloudland” is sheer joy. Drummer Magnus Öström’s sensitive command of timbre and texture is jaw-dropping in the reflective “Nikita’s Dream”. We hear guitarist John Parricelli’s range: from the nylon-string delicacy of “Tango Magnifique” to the casbah-ish electric riffs of “Desert of Catanga”. On “River of Little”, pianist Grégory Privat’s playing of the theme has luminous precision, yet the glimpse he gives us into an improvised world of freedom and fantasy is magical. This album is also a celebration of the myriad talents which the members of Liberetto bring to Danielsson’s fascinating yet completely approachable music. The ‘elegant lyricism’ and ‘unerring groove’ which Canadian writer John Kelman spotted in the band’s first album from 2011 are to be found in abundance on this, their fourth. Those who know how attractive Liberetto’s music is will find all their expectations fulfilled on “Cloudland”. They understand it, they cherish it, and, throughout “Cloudland”, the joy they are having in being back together playing it is palpable. These musicians have been familiar with Danielsson’s music for most of a decade.
So, when a window appeared in September 2020 between the lockdowns across Europe, he seized the opportunity to bring his fellow band-members back to his studio near Gothenburg to finish what they had started. Lars Danielsson had recorded just a few tracks for a new Liberetto album in late 2019.
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