Five-Star Collection... The Swinging Swedes

The Swinging Swedes • The Cool Britons

New Sounds From The Old World

This LP disc is unique in several respects. For the first time on any record, it presents a compact and complete picture of the best in modern jazz from the two European countries that have taken an undisputed lead, over all others outside the United States, in developing first-class talent in this field. For the first time it combines in one comprehensive LP the best in writing, in thinking and performing, that the brilliant young stars of Great Britain and Sweden have given the jazz world.

Every musician on Summertime, Pick Yourself Up and the double-length Cream of the Crop was selected, in a poll taken by Estrad magazine among 25 Swedish music critics, as the No. 1 man on his instrument — and the superb arrangements were the work of the No. 1 penman, Gösta Theselius, whom we hailed in Down Beat as the most brilliant new arranger on the jazz scene, irrespective of country.

(...)

No less remarkable is the swinging spirit of the all-star British groups under the leadership of Johnny Dankworth. Born in London in 1927, Johnny extracts his mellifluous tone and modern style from a plastic saxophone, an idea that has since been copied by several top American jazzmen. On the first two tunes, Birdland Bounce, Leapin' in London, Johnny conducts the winners of a poll conducted among readers of the English weekly Melody Maker, playing two of his own arrangements. The other two numbers, Tea for Me, Cherokee, are played by Johnny with his own combo, which was elected the country's No. 1 small band in the poll.

(...)

All in all, the performances in this double-header might well be described by one of the Swedish titles; they are, in every respect, the cream of the crop. *Leonard Feather (liner notes)*

New Sounds from the Old World is the apt title of this LP, which puts the best British and Swedish jazz back to back.

British titles are eloquent testimony to the triple talents of Johnny Dankworth, as alto man and arranger on all four sides, leader of the bigger group of Melody Maker poll winners on the first two numbers and of his own award-winning combo on the last pair. They also show off a fine trumpet man, Jimmy Deuchar, Ronnie Scott's tenor, several other confident soloists, and rhythm section work that's most effective on Bounce, the best item of the bunch.

We've already saluted the Swedes' Summertime and Pick, released as a single. The six-minute Crop is no less impressive. Theselius wrote a fascinating 12-bar theme and intermittent flashes of arrangement that break up the solo passages admirably but leave plenty of room for everyone to expound at length: Ericson's trumpet, Persson's trombone, Wickman's clarinet, Domnerus' alto, Norin's tenor, Gullin's baritone, Linde's vibes, Hallberg's piano, Carlberg's guitar, and, backing them all beautifully, Brehm's bass and Norén's drums. We've heard hundreds of Scandinavian sides, and to our knowledge this was the most successful date ever cut by the Swedes. Don’t miss it.

*Down Beat, Chicago, March 25, 1953*

Note: At the time of this review, the magazine did not identify the author. They only expressed: “Records in this section are reviewed and rated in terms of their musical merit.” In this case, the five stars went to The Swinging Swedes. The Cool Britons received only four stars.

Side 1

The Swinging Swedes

1 - Pick Yourself Up

(Jerome Kern, Dorothy Fields)

2 - Summertime

(George Gershwin)

3 - Cream Of The Crop

(Gösta Theselius)

Side 2

The Cool Britons

4 - Birdland Bounce (a.k.a. Brand's Essence)

(Traditional, arr. Johnny Dankworth)

5 - Leapin' In London (a.k.a. Marshall's Plan)

(Traditional, arr. Johnny Dankworth)

6 - Tea For Me (a.k.a. Seven Not Out)

(Johnny Dankworth)

7 - Cherokee

(Ray Noble)

#1, #2, #3:

Rolf Ericson (trumpet), Åke Persson (trombone), Putte Wickman (clarinet),

Arne Domnérus (alto sax), Carl-Henrik Norin (tenor sax), Lars Gullin (baritone sax),

Ulf Linde (vibes), Bengt Hallberg (piano), Sten Carlberg (guitar),

Simon Brehm (bass), Jack Norén (drums).

Recorded in Stockholm, Sweden, September 5, 1951

#4, #5:

Kenny Baker (trumpet), Gordon Langhorn (trombone), Henry McKenzie (clarinet),

Ronnie Chamberlain (soprano sax), Johnny Dankworth (alto sax), Ronnie Scott (tenor sax),

Dave Shand (baritone sax [#4]), Victor Feldman (vibes), Ralph Sharon (piano),

Ivor Mairants (guitar), Charlie Short (bass), Jack Parnell (drums).

Recorded in London, England, February 3, 1951

#6, #7:

Jimmy Deuchar (trumpet), Eddie Harvey (trombone), Johnny Dankworth (alto sax),

Don Rendell (tenor sax), Bill LeSage (piano), Eric Dawson (bass), Tony Kinsey (drums).

Recorded in London, England, July 29, 1950

Leonard Feather Presents… ★1959★

Leonard Feather Presents

One World Jazz

Through the miracles of modern recording science, fifteen of the world's leading jazzmen meet for the first time in this unique and exciting intercontinental jam session. Seven musicians in New York, four in Paris, three in London and one in Stockholm play together to make not only a scientific, but a musical point: Jazz Is An International Language.

⁂

Although there has never before been an album of this kind, its motivation and objective were logical and desirabie. For the first time in recording history, a group of leading American musicians has joined forces with some of the top artists in other countries for an international jam session, for release in monophonic and stereophonic sound.

The idea sprang from a conversation in the spring of 1959 with Irving Townsend. When I mentioned a projected business trip to Europe and suggested that there were several fine musicians in England and France who had been heard too rarely on records in the United States, we first discussed a plan to record a separate session in each country. Suddenly a more provocative concept emerged: why not, said Irving, record them together? 

Though obviously feasible, the suggestion ealled tor long-range planning. Nat Shapiro of Columbia’s international division started setting up contacts in London and Paris. Then the plan was extended when I suggested that the musicians would be offered a stimulating challenge if they could work in the company of Americans. For geographical or technical reasons, this had never before been possible. 

The device employed was simple. A seven-piece group was assembled in New York, and on the evening of May 19, 1959, we recorded the six tracks you hear in this album. But on that evening they sounded curiously different. There were long passages left open in which only the rhythm section played. Thus there would be no need for any awkward attempts to splice conflicting ideas, match tempos, coordinate rhythm sections at home and abroad; on the contrary, the foreign musicians would have the unprecedented opportunity to be supported by the kind of American rhythmic background with which they had often expressed a desire to work.

The musicians chosen for the New York session are all well known to the Europeans who were later to enjoy their company.

⁂

It may be apt to conclude with a remark made by Jo Jones when, after I had returned from Europe with the results of this undertaking safely boxed in, he listened to the tapes and heard the startling additions that had so radically aitered the original session.

"You know what you should do?" he said. "You should send a copy of this record to the United Nations. Why, this says more about people getting together, listening to each other and understanding one another, than all of eg over at the U.N. building could ever say!"

I hope Jo was right. *Leonard Feather (from liner notes)*

Years before Frank Sinatra sang his "over the phone" set of Duets in the mid 90s, Columbia tried a similar "not all there in the studio" approach with this album of jazz played by American and international artists selected for the project. Tapes were made in New York with a lot of space in between the main soloists. These tapes were then flown overseas, where players in three cities played on top of the tapes, dubbing in solos that sound like they were part of the group. A decent enough idea technologically, we guess — but why would anyone want to subject jazz to such conditions? European players include Ronnie Ross, Roger Guerin, Stephane Grappelly, Åke Persson and Roy East — and the tunes include "Big Ben's Blues", "International Blues", "Nuages", and "Cotton Tail". *Dusty Groove, Inc.*

Side 1

1 - Cotton Tail

(Duke Ellington)

2 - Misty

(Burke, Garner)

3 - Big Ben's Blues

(Model)

Side 2

4 - International Blues

(Leonard Feather)

5 - Nuages

(Django Reinhardt)

6 - In A Mellow Tone

(Duke Ellington)

First session, (basic tape with spaces for additional sessions):

Clark Terry (trumpet), J.J. Johnson (trombone), Ben Webster (tenor sax),

Hank Jones (piano), Kenny Burrell (guitar), George Duvivier (bass), Jo Jones (drums).

Recorded in New York City, May 19, 1959

Second session, (additions to first session):

Roy East [#1, #3, #4, #6] (alto sax), George Chisholm (trombone),

Ronnie Ross [#3, #4, #6] (baritone sax).

Recorded in London, England, June 22, 1959

Third session, added:

Åke Persson [#4](trombone).

Recorded in Stockholm, Sweden, June 30, 1959

Final session, (additions to the tape):

Roger Guerin (trumpet), Bob Garcia [#1] (tenor sax),

Martial Solal [#3, #4] (piano), / Stéphane Grappelli [#2, #4, #5] (violin).

Recorded in Paris, France, July 3, 1959

Åke Persson - New Sounds From Sweden

Åke Persson Swedish All Stars

New Sounds From Sweden

Featuring Arne Domnérus

On a cold and foggy February midnight 1975, ace trombonist Åke Persson put his Germany-registred old Volvo Amazon in first gear and drove slowly down a snowy knoll adjoining a walking path in front of the US Embassy in Stockholm. The Amazon soon reached the icy bayside Edge - but, amazingly, refused to let the onrushing waters turn out the fully lit headlights.

Hours later, a man walking his dog along the same path sees the strange, almost fluorescing lights from under wáter. For a brief second, he wonders what a team of divers mights do out there, in teh darkness of the small hours. Then, he notices rubber tracks in the snow, and a trombone case by a pocket size telephone book sitting on a stone pillar. On arrival, police decides that the unknown Amazon driver is someone by the name of Persson, Åke, home address Blumenthalstrasse, West Berlín.

By 1975, Åke was considered the tombone player in all of European jazz. *Hans Fridlund*

Born in Hässleholm, Sweden, on February 25, 1932, Åke Persson, known as "the Comet" (or "Kometen"), was a fine trombonist with an appealing tone who worked steadily in Europe during his prime years and occasionally guested with American jazzmen who were on tour. Among Persson's associations through the years were Simon Brehm (1951-1954), Arne Domnérus, Hacke Björksten, Harry Arnold's Swedish Radio Band (1956-1961), Quincy Jones' big band (playing for the ill-fated Free and Easy show), Lars Gullin, the RIAS Big Band (1961-1975), and the Kenny Clarke & Francy Boland Big Band (1963-1971). Additionally, Persson had opportunities to play with George Wallington, Roy Haynes, Benny Bailey, Count Basie (1962), Duke Ellington, and Dizzy Gillespie, among many others.

Persson, considered one of the top European bop trombonists of the 1950s and '60s, led four numbers apiece during sessions for Metronome in 1953, Philips in 1957, EmArcy from 1956-1957, and Metronome again in 1959: 16 selections in all.

Persson drowned in the Djurgården canal in central Stockholm in February 1975; he had driven his car into the canal either accidentally or deliberately.

Side 1

1 - Jumping With Queen Anne

(Blomquist, Svensson)

2 - Pops

(Blomquist, Svensson)

3 - Walking Feet

(G. Svensson)

4 - Subway

(Blomquist, Svensson)

Side 2

5 - Softly As In A Morning Sunrise

(S. Romberg, O. Hammerstein II)

6 - It Might As Well Be Spring

(R. Rodgers, O. Hammerstein II) 

7 - Hershey Bar

(Johnny Mandel)

8 - My Blue Heaven

(W. Donaldson, G. A. Whiting)

#1 to #4:

Åke Persson (trombone); Arnold Johansson (valve trombone [#1, #2]);

Rolf Blomquist [#1, #2], Carl-Henrik Norin [#3, #4] (tenor saxes);

Ernie Englund (trumpet [#3, #4]); Gunnar Svensson (piano);

Yngve Åkerberg (bass); Jack Norén [#1, #2], Alan Dawson [#3, #4] (drums)

Recorded at Radiotjänst (Karlaplansstudion) in Stockholm, Sweden,

February 19 (#1, #2) and November 6 (#3, #4) 1953

#5 to #8:

Åke Persson (trombone), Arne Domnérus (alto sax),

Bengt Hallberg (piano), Gunnar Johnson (bass), Jack Norén (drums).

Recorded at Radiotjänst (Karlaplansstudion), Stockholm, Sweden, September 14, 1953

Nils Lindberg And The Swedish Modern Jazz Group

 Nils Lindberg (1933-2022), a pioneering Swedish jazz composer and pianist, left an enduring mark on various musical genres. In 1960, he recorded the present album consisting of seven tracks, four of which stand as a testament to his unique fusion of jazz, Swedish folk music, and classical influences.

Crucial to the project's success were the first-rate musicians Lindberg enlisted: Rolf Billberg (alto sax), Harry Bäcklund (tenor sax), Allan Lundström (tenor sax), Lars Gullin (baritone sax), Sture Nordin (bass), and Conny Svensson (drums). Collectively recognized as The Swedish Modern Jazz Group, they were expertly arranged and conducted by Lindberg, contributing to the overall excellence of the album.

Lindberg drew inspiration from Swedish folklore in compositions such as "Curbits", "Play for Love", and "Zodiac". Particularly noteworthy, "Brand New" stood out for its exclusively Swedish style and original construction, presented as a suite with interconnected parts.

The remaining tunes, "Blues for Bill" and "Birdland", brought additional jazz diversity to the album. "Just a Take"' featuring improvisation by Lars Gullin and Rolf Billberg, emerged as a standout and it turned out to be one of the highlights of this album.

Titled Sax Appeal, the album, originally released on the Swedish Barben Records label, not only captured Lindberg's innovative approach but also showcased the exceptional musicality of all the musicians involved in this project.  *Jordi Pujol*

The Swedish Modern Jazz Group

Sax Appeal

Yes, those frigid Swedes were able to swing in the early 1960s, as this album of music conducted by pianist Nils Lindberg and featuring the Gerry Mulligan-inspired baritone sax of Lars Gullin will testify. The first seven songs have the two teamed up with Conny Svensson/dr, Sture Nordin/b, llan Lundstrom/ts, Rolf Billberg/as and Harry Backlund/ts. The horns are upbeat on "Birdland" with some nice CA Cool tones from Billberg and Gullin, while the horns are elegiac on "Blues For Bill" with Backlund's warm tenor giving memories of Getz. Gullin's baritone glows, with the two tenors volley back and forth on the swinging "Brand New". Lindberg's TV Orkester makes a few changes as Gullin steps out for Tosten Wennberg, and Lunstrom sears through "Cotton Tail" and Lindberg is splashy on "Moonlight in Vermont". Swinging northern lights. *George W. Harris*

A music critic described Swedish composer and pianist Nils Lindberg as a "musical knight", riding on the frontiers of music. I looked through his extensive discography and saw jazz, classical composition, Swedish folk music. He was a busy guy. When it comes to jazz he worked with the great Swedish jazz vocalist, Alice Babs. He wrote arrangements for Duke Ellington. He worked with Josephine Baker, Judy Garland, and Mel Torme.

The Swedish Modern Jazz Group, recorded in 1960, didn't have any brass players, but you get a lot of saxophone. The arrangements are silky smooth. It's West Coast California cool, with a touch of the older swing band sound.

On "Curbits" Lars Gullin has the first solo on baritone sax, and it's gorgeous. Allan Lundström solos next on the tenor sax. Rolf Billberg steps in next on the alto sax. I'm struck by how good all the saxophone players are. Was there something in Sweden's drinking water that turned sax players into phenomenal soloists?

Lindberg was a fine jazz pianist, but maybe a bit tentative. He sure knew how to write pretty melodies.

Lars Gullin intros "Brand New", There’s a lovely duet with bassist Sture Nordin. The basslines are thick and resonant. Lindberg's piano dances along the upper keys, creating a charming contrast. Harry Bäcklund and Allan Lundström, both on tenor sax, collaborate and then trade off amazing solos. Drummer Conny Svensson's brushwork on the cymbals is flawless.

Lindberg composed most of the music, but the band does Charlie Ventura's "Birdland", and it's a knockout. Beautiful unison playing, drummer Svensson is given free rein, and he goes for it. There is a fabulous alto solo from Billberg. The rest of the sax players show their stuff. I was familiar with Lars Gullin. I had not heard of these other great sax men.

There are four tracks from another of Lindberg's bands, Nil Lindberg's TV Orkester. Trumpeter Maffy Faley and trombonist Ake Peerson were added. Tosten Wennberg replaced Lars Gullin on the baritone sax. Their version of "Cotton Tail" was performed by a much smaller outfit than the Duke Ellington orchestra, but they played their hearts out. There are some excellent solos from everyone, even Lindberg, despite having to play on a tinny-sounding piano.

"Blues For Bill" is another Lindberg composition. Bass and piano comp for a bit, and then there is this great theme. It reminded me of the theme from The Andy Griffith show. The band plays in unison, before the tenor sax, trumpet, and trombone show off their improvization skills.

Sax Appeal is a great album. If you’re not that familiar with Swedish jazz, this is a good place to start.

There is no better jazz reissue label than Fresh Sound Records. They remaster everything they put out. Many times, the reissue sounds better than the original. *Tim Larsen*

1 - Curbits

(Nils Lindberg)

2 - Blues For Bill

(Nils Lindberg)

3 - Brand New

(Nils Lindberg)

4 - Birdland

(Roland, Ventura)

5 - Just A Take

(Gullin, Billberg)

6 - Play For Love

(Nils Lindberg)

7 - Zodiac

(Nils Lindberg)

8 - Cotton Tail

(Duke Ellington)

9 - Taboo

(Ernesto Lecuona)

10 - Blues For Bill

(Nils Lindberg)

11 - Moonlight In Vermont

(Suessdorf, Blackburn)

#1 to #7, from the album Sax Appeal  (Barben SBLP-1004 Stereo)

Rolf Billberg (alto sax), Harry Bäcklund (tenor sax),

Allan Lundström (tenor sax), Lars Gullin (baritone sax),

Nils Lindberg (piano), Sture Nordin (bass), Conny Svensson (drums).

Recorded at Europa Film, Stockholm, Sweden, February 9 and 10, 1960

Tracks #8-11, from the album Jazz in TV Time (Columbia SEGS 74)

Maffy Falay (trumpet), Åke Persson (trombone),

Allan Lundström (tenor sax), Tosten Wennberg (baritone sax),

Nils Lindberg (piano), Sture Nordin (bass), Conny Svensson (drums).

Recorded in Stockholm, Sweden, October 31, 1960

Rare And Obscure Argo Recordings (XVIII)

Benny Bailey And The Quincetet

The Music Of Quincy Jones

Quincy Jones wears many hats. He is an arranger of brilliance. He plays trumpet passably. He leads his own large orchestra, a feat that requires more than conducting, in that a leader also has to be father, mother, wife, and psychiatrist to some 16 musicians. But, most of all, he is a composer who writes with delicate melodic sense and rhythmic vigor-

He is a budding Duke Ellington, and there are many who will tell you that his orchestra will be the band of the 1960s.

He already has given impressive indication of the road he intends to take. The recent trip he made with his band revealed to listeners what his first two albums had led them to suspect – that his orchestra is precise, joyously swinging, and interested in exploring arrangements that show thought in their preparation and are written expressly for the musicians in that band, utilizing their individual capabilities.

One of those individuals created a good deal of attention on his own. That would be Benny Bailey, the trumpeter with huge tone and broad attack who went to Europe in 1953 with Lionel Hampton and stayed there until Quincy called Benny back from Sweden to join him.

Bailey's performances herein show you why Jones was so eager to get him on the band. This LP was cut in Sweden last year in the company of another American, drummer Joe Harris, and the light-quick Swedish trombonist Åke Persson, another member of the Jones band. Several combinations of Swedish all-stars make up the backing.

We think you'll find this combination of Quincy Jones' music and the resounding horns of Benny Bailey and Åke Persson to be a stirring mixture and one that points out yet one more facet of Quincy's talent. He has an unerring sense of taste when it comes to picking the right chairs. Quincy Delight Jones is something else! *Al Porch (liner notes)*

An excellent album that's a perfect document of the strong impact that Quincy Jones had in the transatlantic jazz scene of the late 50s and early 60s! The set was recorded in 1960, and features two players that Quincy would leave behind in Europe to have a huge influence on the scene. Trumpeter Benny Bailey is the greatest of these – and his impact on jazz in Germany and Sweden during the 60s and 70s cannot be discounted. The other is drummer Joe Harris, who does excellent work here in a group that includes Arne Domnérus on sax, Åke Persson on trombone, and Gunnar Svensson on piano – all Swedes that Quincy picked up after touring the country heavily during the late 50s. The set grooves with the best of Jones' work on Mercury from the time – and although Quincy's not listed in the credits, it's probably only because of contractual reasons. Titles are all Jones originals – including "Meet Benny Bailey", "Plenty, Plenty Soul", "Fallen Feathers", and "The Midnight Sun Never Sets". *Dusty Groove, Inc.*

This album is one of the earliest devoted solely to the compositions of Quincy Jones and emerged from his work in Europe in the late 1950s. A classic session that took place 1959 in Stockholm featuring international stars Joe Harris and Benny Bailey. Together with a troop of legendary Swedish jazzers from this era they recorded this album which in many ways is a tribute to the songwriting skills of master Quincy Jones. Apart from Åke Persson, musicians like Arne Domnérus, Lennart Jansson and a handful of others are making this to a true gem.*paladinvinyl.com*

Side 1

1. The Golden Touch

(Jones, Pettiford)

2. I'm Gone

(Quincy Jones)

3. Jones Beach

(Quincy Jones)

4. The Midnight Sun Never Sets

(Jones , Salvador)

Side 2

5. Meet Benny Bailey

(Quincy Jones)

6. Plenty, Plenty Soul

(Jones, Jackson)

7. Fallen Feathers

(Quincy Jones)

8. Count 'Em

(Jones, Cleveland)

Benny Bailey (trumpet); Åke Persson (trombone); Arne Domnérus (alto sax);

Bjarne Nerem (tenor sax); Lennart Jansson (baritone sax);

Gunnar Svensson [#1], Gösta Theselius [#2 to #8] (piano); Gunnar Johnson (bass);

Anders Burman [#3, #6], Joe Harris [#1, #2, #4, #5, #7, #8] (drums).

Recorded at Millessalen Recording Studios, Stockholm, Sweden, October 8, 1959

Benny Golson - Stockholm Sojourn

The International Jazz Orchestra

Under The Direction Of Benny Golson

Stockholm Sojourn

In recent years Benny Golson has been known — aside from his excellent tenor playing — for his small group writing. It should not be forgotten that he first attracted attention as an arranger through his work for Dizzy Gillespie's big band. The years since then have seen a constant accretion of his skills. In this album, a return to a big band format (23 men in all), we can see, or rather hear, how much his talent has grown. 

It is an album of tightly-woven textures. He uses an instrumentation of four trumpets, three trombones, four French horns, flutes, clarinets, alto flutes, oboes, English horns, a bass clarinet, a baritone saxophone, bass and drums. The voicings are often unusual. "A lot of times", he said, "I wanted a blanket effect-like a crazy quilt".

Listening to the tape, he added, "You'll notice I had the bass recorded a little heavy. That's because there's no piano, and the two rhythm have 21 men sitting on top of them". Fortunately, the bassist is Roman Dylag, the young Pole whose work was gaining repute even before he slipped out under the Iron Curtain and took up residence in Sweden.

Sweden has proved a haven for many jazzmen, including some Americans. One of these is the brilliant trumpeter Benny Bailey, who plays lead and a number of the solos in this recording. The majority of the musicians, however, are Swedish, residents of Stockholm, where this LP was recorded.

Though Benny Golson is one of the most gifted of the younger composers to come out of jazz, his writing exceeds the scope of what current cant considers to be jazz, which has become too often a term of narrowing, of cramping, of littleness. It is to be hoped that the context in which he writes can continue to grow broader apace with his talent. *Gene Lees, February 1965 (liner notes)* 

Although the International Jazz Orchestra (which was arranged and conducted by Benny Golson) recorded their parts for this album on July 14, 1964, some of the soloists were dubbed in later that year. Golson, who does not play at all on this set, seemed inspired by the large instrumentation — a full orchestra with trumpets, trombones, French horns, several English horns doubling on oboes, five reeds, up to six additional flutes and a pianoless rhythm section — and his charts (six of his originals and three standards) are both inventive and full of subtle surprises. Among the many highlights are Golson's reworkings of "Are You Real", "Waltz for Debby" and "I Remember Clifford". This underrated set is recommended. *Scott Yanow*

Side 1

01 - Stockholm Sojourn

02 - Tryst

03 - Are You Real

04 - Goodbye

Side 2

05 - Waltz For Debby

06 - My Foolish Heart

07 - A Swedish Villa

08 - I Remembered Clifford

(All compositions by Benny Golson)

[Note: On the 1997 CD edition, a bonus track is added ("The Call") that does not appear on the original LP]

The International Jazz Orchestra:

Benny Bailey, Bengt-Arne Wallin, Bosso Broberg, Bertil Lövgren, Maffy Falay (trumpets); Åke Persson, Georg Vernon, Jörgen Johansson, Eje Thelin, Grachan Moncur III (trombones); Bengt Olsson, Carl Nyström, Elis Kårvall, William Foch (French horns); Rune Ericksson (euphonium); Alf Nilsson, Ingvar Holst, Lars Skoglund, Erik Björkhager (English horns, oboes); Bengt Christiansson, Nils Wahrby, Börje Marelius, Yngve Sandström, Gösta Ströberg, Ulf Bergström (flutes); Arne Domnérus (clarinet, alto sax); Cecil Payne (baritone sax); Rune Falk (clarinet baritone sax); Torsten Wennberg, Claes Rosendahl (clarinet, saxes); Bjarne Nerem (tenr sax); Rune Falk (baritone sax, clarinet); Jan Johansson (piano); Roman Dylag (bass); Egil Johansen (drums).

Recorded in Stockholm, Sweden, July 14, 1964.

Arranged and conducted by Benny Golson with solos by Benny Bailey, Cecil Payne, Grachan Moncur III, Bengt-Arne Wallin, Eje Thelin, Rune Falk, Bo Broberg and Roman Dylong.

[The parts of Grachan Moncur III and Cecil Payne were dubbed in New York during autumn 1964. Same was done with the solo parts of Persson, Thelin, Domnérus and Nerem who were dubbed in on August 1964 in Stockholm].

Lars Gullin Quartet, Quintet, Sextet, Octet and Orchestra

Lars Gullin

Baritone Sax

Lars Gullin, the Swedish saxman, was reckoned as one of the greatest baritone saxophone soloists of his time. His personal playing, composing and arranging style was somewhat reminiscent of Gerry Mulligan's, but he was also heavily influenced by Lee Konitz' alto playing. He played with all the greats when they visited Scandinavia, and was ranked high in Down Beat's polls during the fifties.

This man and his music, 1950's bebop oriented, well crafted and arranged jazz with a tinge of Swedish folklore, deserves a lot of attention! This album is a great first look into his work, heart-and-ear-pleasing music by a true romantic! Check this one out! *amazon.com*

An amazing American release from this legendary baritone saxophonist – one of a few Swedish sessions that Lars issued here in the US at the time! The album's a perfect introduction to Gullin's groundbreaking work – that blend of soul, swing, and modernism that easily made him one of the best talents on his instrument in the postwar years – an overseas player to rival gians like Pepper Adams or Serge Chaloff here in the US! The work is some of Lars' best from the decade – and the tracks feature his modernist baritone in different groupings with top Swedish jazzmen of the time – including Rune Ofwerman on piano, Arne Domnerus on alto, Rolf Blomquist on tenor, Ake Persson on trombone, and George Riedel on bass. The tracks are all longish (most are over 5 minutes), with a strong swing, and introspective solos by Gulling that are some of his strongest of the time – and titles include "Perntz", "Fedja", "All Of Me", and "So What".  *dustygroove.com*

1 - Summertime

(George Gershwin, DuBose Heyward)

2 - Fedja

(Lars Gullin)

3 - A Foggy Day

(George and Ira Gershwin)

4 - Perntz

(Lars Gullin)

5 - All Of Me

(Seymour Simons, Gerald Marks)

6 - Mean To Me

(Roy Turk, Fred E. Ahlert)

7 - So What

(Gerry Mulligan)

#2 and #4: Lars Gullin Octet

Georg Vernon (trombone); Arne Domnérus (alto sax, clarinet); Carl-Henrik Norin (tenor sax); Lars Gullin, Rune Falk (baritone saxes) ; Rune Ofwerman (piano); George Riedel (bass); Bert Dahlander (drums).

Stockholm, Sweden, April 23, 1956.

#5: Lars Gullin Quartet

Lars Gullin (baritone sax), Rune Ofwerman (piano), Bengt Carlsson (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 24, 1956.

#7: Lars Gullin Quintet

Lars Gullin (baritone sax), Åke Persson (trombone), Rune Ofwerman (piano), George Riedel (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 25, 1956.

#1 and #3: Lars Gullin With Gösta Theselius And His Orchestra

Jan Allan, Weine Renliden, Nisse Skoog, Bengt-Arne Wallin (trumpets); Gordon Ohlsson, Åke Persson, Georg Vernon (trombones); Arne Domnérus (alto sax); Rolf Blomquist, Carl-Henrik Norin (tenor saxes); Rune Falk, Lars Gullin (baritone saxes); Rune Ofwerman (piano); George Riedel (bass); Bert Dahlander (drums). Gösta Theselius (arranger).

Stockholm, Sweden, April 25, 1956.

#6: Lars Gullin Sextet

Lars Gullin (baritone sax), Åke Persson (trombone); Arne Domnérus (alto sax), Rune Ofwerman (piano), George Riedel (bass), Bert Dahlander (drums).

Stockholm, Sweden, April 26, 1956.

Sahib Shihab - Summer Dawn

Sahib Shihab born Edmund Gregory in Savannah, Georgia, on June 23, 1925. Though his musical career stretched over four decades, Sahib Shihab counted only about a dozen titles as leader, including this 1964 recording made with a handful of members of the Clarke Boland Big Band in Cologne, engineered by their  regular engineer Wolfgang Hirschmann. How and why the title came to be released only in the US through Chicago based Chess Jazz subsidiary Argo label is anyone's guess. Shihab's other occasional label connections included Savoy, Debut, Storyville and Atlantic.

Shihab spent from 1960 to 1986 as a resident of Europe, including a decade 1963-72 a regular fixture of the Clarke Boland Big Band. He returned to the US for his final years, passing away in 1989 age 64.

The stripped-down Shihab — Clarke Boland Quintet is a marvel of musical mobility, big band in everything but... size. All the compositions and arrangements here enjoy a small big-band flavour, the power toned down, a bit more intimate, but unmistakably Clarke Boland, embracing a wider range of styles: waltz, rhumba, more European stuff.

Shihab is one of the most original voices of the baritone sax. With a reference bar of Harry Carney, Gerry Mulligan, Lars Gullin and Pepper Adams, Shihab  developed a unique vocabulary which owes little or nothing to those players, he simply charted his own course. Changing from baritone, his alto solo on the selection "Please Don't Leave Me" is quirky, straying fancifully, before finally locking onto the groove and picking up speed.  But not until Åke Persson and Francy Boland have shown their mettle. 

"Waltz For Seth" is another Shihab favourite, and other tracks ("Herr Fixit", "Campi's Idea")  point back to jazz producer / supervisor Gigi Campi: "busy, eloquent, creative intellectual, Pietro Luigi (Gigi) Campi — editor, architect, concert manager, music publisher, producer and restaurateur", and anchor of the Cologne jazz scene. Campi productions have found their way to the Italian reissue label Schema/Rearward,  of which I have many CBBB, Johnny Griffin and Sahib Shihab titles. *londonjazzcollector.wordpress.com*

A fantastic early record by Sahib Shihab — a motherlode of modal jazz grooves, cut during the early days of the Clarke-Boland Big Band! The record features a core group of players from that ensemble — including Shihab on alto, baritone, and flute, plus Francy Boland on piano, Jimmy Woode on bass, Åke Persson on trombone, Francy Boland on piano, Joe Harris on bongos, and Kenny Clarke on drums — all coming together here with a groove that's really groundbreaking — a style that's sweet and soulful, but rhythmically revolutionary too! The tracks are all long and grooving — with the kind of dancing jazz tone that you'd expect from the Saba/MPS label during the mid 60s — a big change from the Argo label that originally issued the record. But that's no surprise, either, as the session was actually recorded in Europe by Gigi Campi — the man behind the CBBB albums on MPS — with a feel that's quite similar to other Shihab classics, like Companionship or Seeds. The whole thing's great — one of Shihab's most wonderful records, and totally worth owning.  *dustygroove.com*

There is one moment... when the darkness of the night begins to pass... when first light creeps from horizon through the leaves of the trees, 'round the corners of your neighbor's house... it sneaks through the windows softening the colors on its way, altering your feelings of past and present, banishing all those many troubles...

Listen! The sounds seems transparent... they echo... they come again... and now from over there...

You smell the cool breeze, touching heart and brain, rebuilding your ego, helpin to strip off the troublesome yesterday...

You're alone. It is summer dawn... *Nat Jungnick (liner notes)*

1 - Lillemor

2 - Please Don't Leave Me

3 - Waltz For Seth

4 - Campi's Idea

5 - Herr Fixit

(All compositions by Sahib Shihab)

Sahib Shihab (alto sax, baritone sax, flute),  Åke Persson (trombone), Francy Boland (piano), Jimmy Woode (bass), Joe Harris (bongos), Kenny Clarke (drums).

Recorded in Cologne, Germany, May 8 and 9, 1963.

***

and now... a break and some days for my own summer dawns...

 Best New Year for all here!

Harry Arnolds And His Orchestra - The Jazztone Mystery Band

Arnold was among the finest big-band arrangers and tenor saxophonists in Sweden during the 1950s and '60s. From 1956 to 1965, Arnold led the Swedish Radio Studio Orchestra that featured many of the country's leading Swedish jazz musicians. They recorded quite a few albums, including their first, The Jazztone Mystery Band. It's easily one of the finest big band recordings of 1957. 

*Marc Myers*

An overlooked and now obscure figure in jazz, Harry Arnold led an incredibly tight, talented, and swinging big band in the 1950s. Arnold knocked American critics on their collective ears with what was to become known as The Jazztone Mystery Orchestra named after the record label they were first signed with in the U.S.

Harry Arnold studied clarinet in 1937 and 1938 and started arranging without the benefit of formal study in 1938. He claimed to have learned the technique of arranging through analyzing the works of everyone from Ravel to Basie. Arnold led his own band in Malmo from 1942 to 1949. He then went to Stockholm as a tenor man and arranger with Thor Ehrling's band taking his own outfit back to play weekends in Malmo from 1952 to 1954. In 1956 he organized a 17 piece group to play weekly radio broadcasts (except during the summer) in 1956.

The music of Harry Arnold And His Swedish Radio Studio Orchestra hit the states in the late 1950's. Author George Simon recounted Claes Dahlgren, Sweden's Jazz ambassador, walking into Simon's office and in a very modest and disarming manner leaving some tapes of the band on Simon's desk with a polite, "give a listen if you have the time". Simon and his colleagues were so knocked out by the tapes they played them to others to get second opinions afraid their ears were deceiving them.

Harry Arnold and his big band was subsequently signed to Jazztone. Simon said of the band, "it's brilliant ensembles, it's abundance of exciting modern soloists, it's biting, swinging beat, and it's superb polish – all these things really thrilled us". A few other quotes made by famous jazzmen, upon first hearing the band, having only been told it was the Jazztone "Mystery" Band include; arranger Ernie Wilkins: "This band would be a gasser to write for! What musicianship!" Bandleader Elliot Lawrence: "The band sounds like a modern swinging Tommy Dorsey". Don Cerulli, New York editor of Down Beat magazine: "Actually the band is Elliot Lawrence". Willis Canover from the Voice Of America network: "This is a hell of a swinging band". *swingmusic.net*

Side 1

1 - I Found A New Baby

(Williams, Palmer)

2 - Six-Ten

(Gösta Theselius)

3 - Our Love Is Here To Stay

(G. and I. Gershwin)

4 - This Can't Be Love

(Rodgers, Hart)

5 - This Is Harry

(Harry Arnold)

6 - Crazy Rhythm

(Meyer, Kahn)

Side 2

7 - Blue Lou

(Sampson, Mills)

8 - Little White Lies

(Walter Donaldson)

9 - Cuban Trombones

(Harry Arnold)

10 - Now It Can Be Told

(Irvin Berlin)

11 - Sunday

(Herbert, LeBaron)

12 - Jersey Bounce

(Johnson, Wright)

#1, #3, #5, #6, #7, #8, #12:

Bengt-Arne Wallin, Sixten Eriksson, Weine Renliden (trumpets); Arnold Johansson (trumpet, valve trombone); Andreas Skjöld, George Vernon, Gordon Olsson, Åke Persson (trombones); Arne Domnérus, Rolf Lindell (alto saxes); Bjarne Nerem, Carl-Henrik Norin (tenor saxes); Lennart Jansson (baritone sax); Bengt Hallberg (piano); Bengt Högberg (guitar); Simon Brehm (bass); Egil Johansson (drums).

Recorded in Stockholm, Sweden, February 2, 1957.

#2, #4, #9, #10, #11:

Bengt-Arne Wallin, Sixten Eriksson, Weine Renliden (trumpets); Arnold Johansson (trumpet, valve trombone); Andreas Skjöld, George Vernon, Gordon Olsson, Åke Persson (trombones); Arne Domnérus, Rolf Lindell (alto saxes); Bjarne Nerem, Carl-Henrik Norin (tenor saxes); Lennart Jansson (baritone sax); Gösta Theselius (piano); Bengt Högberg (guitar); Simon Brehm (bass); Egil Johansson (drums).

Recorded in Stockholm, Sweden, March 6, 1957.

Gösta Theselius And All Stars - Swedish Jazz

Gösta Theselius born in Stockholm, June 9, 1922. Started musical studies on piano at the age of seventeen, played with a military orchestra, taking up clarinet and tenor saxophone. In 1940, started making orchestrations for dance bands and continued playing sax and clarinet until August, 1955. He is now considered Sweden’s foremost jazz arranger and composer, and has seven motion picture scores to his credit. His favorite composers are Stravinsky and Ravel. *Liner notes*

By remaining neutral during WWII, the Swedes avoided a Nazi occupation and were able to listen to the changes in American jazz. Consequently while their European counterparts were mired in Dixieland in the postwar period, the Swedes were into west coast cool jazz. If I didn't know who the players were, I'd have thought this was a California session. For example, they even manage to capture the Four Brothers sound on Michel LeGrand's "Cool and Cosy." Recorded in Stockholm in 1956, the session features players who went on to be Swedish Jazz Masters such as Arne Domnérus (alto sax), Lars Gullin (baritone sax), Åke Persson (trombone), George Riedel (bass), Egil Johanssen and Bengt Hallber, piano. Its a fine album worth multiple listenings!!! *Sadie Softshoe (amazon.com)*

Really wonderful work from the postwar side of the Swedish scene — modern jazz from leader Gösta Theselius, recording here with one hell of a great group! Theselius may not be that well known on these shores, but the record features key work from players who are — including Bengt-Arne Wallin on trumpet, Lars Gullin on baritone sax, Arne Domnérus on alto and clarinet, Bengt Hallberg on piano, and Åke Persson on trombone — all the sorts of players who made the Swedish scene one of the most exciting non-American jazz spots in the 50s! Theselius plays a bit of piano, handled arrangements, and also contributed a number of tunes — but the soloists really get the most sparkle in the set, and although the tracks are shortish, they all manage to really do a lot with the space — in ways that are similar to some of the west coast Americans who inspired them at the time. Titles include "Brewin", "Cool And Cosy", "The Swingin Thirds", "Strollin", "Just Like That", "Bugs", "Havana Horn", and "Chips".  *dustygroove.com*

Side 1

01 - Kreta

(Gösta Theselius)

02 - Laugh Or Cry

(Stanley Applebaum)

03 - Chips

(Frank Engelen)

04 - Havana Horn

(Gösta Theselius)

05 - Brewin'

(Gösta Theselius)

06 - Sabbath Blues

(Arne Domnérus)

Side 2

07 - Just Like That

(Ted Sommer)

08 - Just Lonely

(Gösta Theselius)

09 - Bugs

(Lars Gullin)

10 - Strollin'

(Billy Mure)

11 - The Swingin' Thirds

(Walter Yost)

12 - Cool And Cosy

(Michel Legrand)

Gösta Theselius (piano, arranger, conductor); Bengt-Arne Wallin (trumpet); Bjarne Nerem (tenor sax); Rolf Blomquist (tenor sax, flute); Arne Domnérus (alto sax, clarinet); Lars Gullin, Lennart Jansson (baritone saxes); Åke Persson (trombone); Bengt Hallberg (piano); Georg Riedel (bass); Egil Johansen (drums).

Recorded in Stockholm, Sweden, April 27 and 28, 1956.

Leonard Feather's Swingin' Swedes - New Sounds From Sweden Vol.1

Almost all recordings in Sweden in the 1950s were issued on EPs, the little 7" 45rpm album. The leading record label was Metronome, which released about 500 albums during the decade, most of them jazz records.

In the 1950s Sweden was kind of the center of European jazz. Lots of gifted musicians had plenty of venues to play, and could make their living on jazz. Jazz was still the young people´s music, and there were huge and interested audiences. There were radio programs, special jazz magazines and also jazz features and reviews in weekly magazines and daily newspapers. And there were an abundance of jazz records.

Many Americans visited the country, played in concerts and clubs and made recordings with the domestic stars. The best Swedish musicians became wellknown over the jazz world.

First time Swedish jazz draw public attention abroad was at the jazz festival in Paris in 1949. A Swedish group with Arne Domnérus and Putte Wickman among others, made great success in several concerts and became one of the French public's favorites, despite competition from stars such as Charle Parker and Miles Davis.

The success led to magazine features and radio programs in both Europe and the United States. In USA, Leonard Feather started playing Swedish jazz records in his program "Jazz at its best", and other stations followed. Records from Metronome reviewed in the American jazz press.

Leonard Feather arranged recordings in Stockhom in 1951 with the young Swedish modernists. They were issued the same year in USA on this 10" LP (Prestige 119). In Sweden the recordings were issued on Cupol 78s. *birkajazz.se*

The eight performances on this record are the product of a trip made to Sweden to investigate the glowing reports I had heard about that country's modern jazz. 

Charlie Parker, Stan Getz, Roy Eldridge and many other visitors to Stockholm came home raving about the musicians presented here. 

All but one of the Swingin’ Swedes, by the way, were voted No. 1 on their respective instruments in the first national poll conducted by the Swedish jazz magazine ESTRAD.

Four of the numbers are played by a seven-piece band. This group gets a bigger and cleaner sound than most groups of its kind, thanks to the musicians' fine ensemble interpretation of four arrangements written by the brilliant Gösta Theselius, who won the ESTRAD award as top arranger.

Maybe these eight numbers will give you a pretty clear picture of why more and more people are agreeing that outside the U.S., Sweden is producing the best modern jazz to be heard anywhere. As they would say at Birdland: man, it's a crazy country! *Leonard Feather (liner notes)*

Side 1

1 - The Daring Young Swedes (On The Flying Trapeze)

(arr. Gösta Theselius)

2 - Moonlight Saving Time

(Kahal, Richman)

3 - Swedish Butterfly

(GöstaTheselius)

4 - Meet Me Tonight In Birdland

(Williams)

Side 2

5 - Rain On The Roof

(Ann Ronell)

6 - A Handful Of Stars

(Lawrence, Shapiro)

7 - The Swedish Music This Side Of Heaven

(Feather)

8 - September Serenade

(Dizzy Gillespie)

#2, #5:

Putte Wickman (clarinet), Reinhold Svensson (piano), Rolf Berg (guitar), Simon Brehm (bass), Jack Norén (drums).

#1, #6:

Rolf Ericson (trumpet), Arne Domnérus (alto sax), Lars Gullin (baritone sax), Reinhold Svensson (piano), Simon Brehm (bass), Jack Norén (drums).

Recorded in Stockholm, Sweden, June 28, 1951.

#3:

Rolf Ericson (trumpet), Arne Domnérus (alto sax), Carl-Henrik Norin (tenor sax), Lars Gullin (baritone sax), Bengt Hallberg (piano), Simon Brehm (bass), Jack Norén (drums).

#4:

Rolf Ericson (trumpet), Arne Domnérus (alto sax), Lars Gullin (baritone sax), Toots Thielemans (harmonica), Bengt Hallberg (piano), Simon Brehm (bass), Jack Norén (drums).

#7:

Åke Persson (trombone), Carl-Henrik Norin (tenor sax), Bengt Hallberg (piano), Simon Brehm (bass), Jack Norén (drums).

#8:

Rolf Ericson (trumpet), Åke Persson (trombone), Arne Domnérus (alto sax), Lars Gullin (baritone sax), Bengt Hallberg (piano), Simon Brehm (bass), Jack Norén (drums).

Recorded in Stockholm, Sweden, July 4, 1951.