Stockholm Concert

The strings vibrate gently. Accurate tone, unconditionally clear. And quietly. The longest ngers of jazz seem to dance weightlessly along the wooden bridge; yearning, ligree and elegant. No one else sounds like Ron Carter. His double bass often produces a crisp groove like an electric bass, yet it is always clearly de nable as the sound of a classical music instrument. Then the sound under the scorpion-like hands irresistibly swells. Payton Crossley gently caresses the cymbal, and Jimmy Green, the „new member“ on the tenor saxophone as well as pianist Renee Rosnes push the chorus onto the nely crocheted rhythm cover. “With us, nobody knows exactly what happens when,” Carter praised the Foursight Quartet‘s unique selling point. “This is precisely why every concert is a real challenge. We almost always play 35 to 40 minutes without a stop at the beginning. No breaks, just slight changes that show the beginning of a new song.

2CD compilation of live performances by The Doors in Stockholm, 1968 and New York 1968, 1970, released in 1993 by Italian label Nota Blu Musica.

John Coltrane - Live In Stockholm 1961 (1987) {Affinity, CD Charly 117, Early Press}
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© 1961, 1987 Affinity / Charly Records | CD Charly 117
Jazz / Modal Music / Post Bop / Saxophone

My favorite Coltrane album, The entire band, which includes Eric Dolphy, gives truly inspired and searching prefomances. Coltranes solo on "My Favorite Things" sends me to another realm everytime I hear it, "Blue Train" roars and swings like crazy, some of Dolphy's most imaginative blues work. The sound in the concert hall is excellent. This is the only album I've ever felt obligated to review; for me, its one the greatest jazz recordings, though relatively unknown.

Alfred Schnittke - Symphony No.3 - Stockholm Philharmonic Orchestra, Eri Klas (1990) {BIS Schnittke Edition, BIS-477} (Item #6)
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© 1990 Grammofon AB BIS | BIS-CD-477
Classical / Contemporary Classical / Symphony

Schnitke' s Third Symphony is possibly his most daring and ambitious musical project. The impressive orchestral mass' employment, the exploratory character of every one of its four movements and the overwhelming perspective that hovers it, make of this work hard to label it.

Orfeus Barock Stockholm is the debut album of a Swedish group that goes by the same name. The fantastic new release contains pieces by Johann Sebastian Bach and his second son, Carl Philipp Emanuel Bach. Orfeus Barock Stockholm was founded in 2015 by some baroque loving members of the Royal Stockholm Philharmonic Orchestra and has grown to be an important part of the music life of Stockholm and a meeting point for some of the leading baroque musicians of Sweden. Performing on period instruments, the group ́s repertoire ranges from early 17th century to master pieces by Händel, Bach and Vivaldi yet a special focus lies in bringing forth less known masters, as composers included in the so called Düben-collection.

Alfred Schnittke - Symphony No. 1 (1993) {BIS Schnittke Edition, BIS-577} (Item #16)
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© 1993 Grammofon AB BIS | BIS-CD-577
Classical / Contemporary Classical / 20th Century

As maiden symphonies go Alfred Schnittke’s First is a hugely ambitious enterprise. Scored for a large orchestra – including quadruple woodwinds, guitars, several saxophones and a number of soloists - it can seem intimidating at first. Indeed, hearing the clamour of bells at the start and the chaos that precedes the conductor’s arrival on stage you may well be tempted to switch off. But stay your hand, for this is a polystylistic masterpiece that assimilates a range of genres and periods in a remarkably organic way. Not only that, Schnittke uses his soloists and groups thereof in highly imaginative ways; all of which makes for a glorious kaleidoscope of sound and colour.

Per Henrik Wallin, Johnny Dyani & Erik Dahlback - Burning In Stockholm (1981) {Atavistic ‎UMS/ALP249CD rel 2004}
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© 1981, 2004 Atavistic | ‎UMS/ALP249CD | Unheard Music Series
Jazz / Avant-Garde Jazz / Piano

These three men are well-known in free improvisation contexts. The two Swedes, pianist Per Henrik Wallin and drummer Erik Dahlback, form two thirds of a trio whose bassist surely couldn't have minded the amazing and now departed South African bassist filling his role on this 1981 date. The music might be called free improvisation, but there's nothing weirdly dark or uncontrolled—or tame or dull or incoherent.