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

Stan Getz And Swedish All Stars

Stan Getz

And Swedish All Stars • Vol. 2 

Featuring Bengt Hallberg

In Europe today, the musical portrait is a rather unusual one. In Paris, one finds only three clubs with Jazz in any form. Don Byas in his own club, Sidney Bechet in another, and Roy Eldridge at the last one. Note, all three are names with backgrounds of over 15 years on the Jazz Scene. The newer faces like James Moody and Kenny Clarke, well they are there, thats all. 

England has never gotten over Benny Carter and Coleman Hawkins. Italy knows only of Duke and Louis, not that that’s bad but there are so many more faces on the Jazz Horizon. 

It is Sweden and Denmark that have come along with the new sound. They have let us hear a few of their sounds like the late Stan Hasselgrad, Rheinhold Svenson, Peter Rasmussen and the greatest little group in Svend Asmussen. From these sounds, we were left hungry for more. 

In Sweden at Easter time there are a series of Jazz Concerts presented in seven major cities. They usually import one or two American jazz musicians depending upon the cost of the artist. This year they honored Stan Getz with an invitation. 

Upon his landing in Stockholm they had a welcoming party of hundreds of Jazz fans who had a banquet waiting for Stan. So on it went, every city he visited the fans turned out en masse, banquets and parties followed. Every morning as Stan would prepare to depart for another city and another concert, there would be champagne breakfasts, toasts to Stan’s good health and Bon Voyage.

Stan was thrilled, rejuvenated at the thought of this tribute to his talent, overwhelmed with joy Stan, chose to record on his last day in Sweden a living memory of all this, his greatest victory ever. 

He chose the same musicians who worked with him on this concert tour, and as Stan put it, "never have I ever felt more like blowing than that day", need we say more? 

And for those who crave for more Swedish Sounds we suggest a close ear to the pianistics of Bengt Hallberg. *Teddy Reig (liner notes)*

As critic John Bush recalls, 1951 was a busy year for Stan Getz. After leaving Woody Herman's band in 1949 spending the better part of a year on his own, he found his first great rhythm section at a Hartford club jam session.

Just three weeks later, 24-year-old Stan Getz was playing in Stockholm with some of the biggest names in Swedish jazz at the time, recording eight tracks (ranging from Porter's "Night and Day" to the traditional "Ack, Värmeland du Sköna") in two days with a classy all-star group that included a light-fingered young pianist named Bengt Hallberg.

Here are those rare recordings made by Roost Records.

Side 1

1. Standanavian

(Stan Getz)

2. Prelude To A Kiss

(Duke Ellington)

3. I Only Have Eyes For You

(Harry Warren)

4. Dear Old Stockholm

(Traditional)

Side 2

5. Night And Day

(Cole Porter)

6. Flamingo

(Ted Grouya, Edmund Anderson)

7. Don't Get Scared

(Stan Getz)

8. I'm Getting Sentimental Over You

(George Bassman, Ned Washington)

#1 to #5, #8:

Stan Getz (tenor sax); Bengt Hallberg (piano); Gunnar Johnson (bass);

Jack Norén [#1, #4, #5, #8], Kenneth Fagerlund [#2, #3] (drums)

#6, #7

Stan Getz (tenor sax), Lars Gullin (baritone sax), 

Bengt Hallberg (piano), Yngve Åkerberg (bass), Jack Norén (drums)

Recorded in Stockholm, Sweden, March 23 (#1 to #5, #8), and March 24 (#6, #7), 1951

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

Rolf Ericson And His Swingin' Swedes

Rolf Ericson

Swedish Pastry

One of Sweden's finest trumpeters, Rolf Ericson was born in Stockholm, Sweden, on August 29, 1922. He moved to New York City in 1947 and, in 1949, joined Charlie Barnet's big band and then with Woody Herman in 1950. Later, he worked with Paul Gonsalves, Charlie Parker, and Charles Mingus.

Returning to Sweden in 1950, he recorded as a leader and with Arne Domnérus, as well as for Leonard Feather's Swinging Swedes and Lars Gullin. He returned to the U.S. during 1953–1956, and played with the big bands of Charlie Spivak, Harry James, the Dorsey Brothers, and Les Brown, and was with the Lighthouse All-Stars. In 1956, he toured Sweden and played with Ernestine Anderson and Lars Gullin.

From 1956 to 1965, he was back in the U.S., working with Dexter Gordon, Harold Land, Stan Kenton, Woody Herman, Maynard Ferguson, Buddy Rich, Benny Goodman, Gerry Mulligan, Dan Terry, Max Roach and Charles Mingus, among others. He was with the Duke Ellington Orchestra from 1963 until 1971. In the early 1960s, he made three recordings as a member of the Rod Levitt orchestra (octet). Ericson played with the Al Porcino Big Band in Berlin in the late 1970s and early 1980s. His warm tone and creative yet melodic style were always considered an asset.

Rolf died in Stockholm, on June 16, 1997.

When American fans first became aware of the existence of a modern jazz cult in Sweden, one of the first musicians to spread the good word around was Rolf Ericson, the Stockholm-born trumpet player, who had emigrated to America in 1947, and played with Woody Herman, Charlie Barnet, Elliot Lawrence, Benny Carter and other name bands. 

Rolf's pride in the accomplishments of his fellow-Scandinavians was concerned not only with the individual solo talents of the Swedes, but also in their ability to weld themselves into clean-playing, neatly-arranged jazz units. 

Most of these men ...(who accompany Rolf in this album)..., at one time or another, have won the annual poll conducted by Sweden's ESTRAD magazine. When you hear these performances you'll undoubtedly agree with the Scandinavian jazz fans who voted for them.

*Leonard Feather (liner notes)*

Side 1

1 - Miles Away

(Ericson)

2 - How High The Moon

(Morgan, Lewis)

3 - Conservation

(Theselius)

4 - Perdido

(Tizol)

Side 2

5 - Strike Up The Band

(Gershwin)

6 - The Nearness Of You

(Carmichael)

7 - Lullaby In Rhythm

(Profit, Sampson)

8 - Git Straight

(Ericson)

#1 to #4:

Rolf Ericson (trumpet), Georg Vernon (trombone), Arne Domnérus (clarinet, tenor sax),

Gösta Theselius (tenor sax), Lars Gullin (baritone sax),

Reinhold Svensson (piano), Simon Brehm (bass), Sven Bollhém (drums).

Recorded in Stockholm, Sweden, September 19, 1950

#5 to #8:

Rolf Ericson (trumpet), Arne Domnérus (alto sax),

Rolf Blomquist (tenor sax), Lars Gullin (baritone sax),

Gunnar Svensson (piano), Yngve Åkerberg (bass), Jack Norén (drums).

Recorded in Stockholm, Sweden, January 10, 1951