Welcome to a new Swedish jazz discography, a project that has been going on at Svenskt visarkiv since 1993 involving discographers, record collectors, musicians and other researchers interested in jazz. Our hope is that those who read this will contribute and thus make the discography correct and useful. Please send your comments to one of the addresses at the end of this preface.

PRINCIPLES
This discography is a revised edition of Harry Nicholausson's "Swedish Jazz Discography" from 1983 and also an account of what has been issued from that date to the year 2000.
The ambition has been to be as complete and correct as possible but since the definintion of "jazz" varies from time to time (and from one person to another) this is more an account of the principles that have been followed. Since jazz is bordering to other genres like pop, rock, blues, various modern classical music and other genres subjective judgements have been necessary. The selection is still generous to such genres.
We have also tried to avoid giving priority to "professional" musicians which means that also efforts by young amateurs are beeing included (provided the recordings are issued on a commercial label and/or are registered by ncb).

WHAT IS JAZZ?
*1900-1924
There are some recordings made before 1924 registered, generally under the influence of ragtime. The term "jazz" was not yet accepted at that time. Some recordings that are pointing forward to genuine "American style" jazz are being included from this era. Sometimes the use of jazzinstruments like a banjo, a saxophone or a jazz drum-set during this era can make a recording qualify for the discography.
The oldest recording in the discography, "Cake Walk", is included though it was probably recorded as early as 1899.

*1925-1934
During the second half of the 1920's Swedish musicians were mainly influenced by English dance bands. Those vague attempts to improvise (mainly on parts of a chorus) that are being recorded during the period are included. This development continues during the first half of the 1930's.

*1935-1945
The American influence is more and more obvious during this era. Genuine jazz recordings are now being made beside swing-style recordings of popular songs. This makes it difficult to draw a line between jazz and "non-jazz" during this period. The playing style of the artist and the his/her perfomance will determine whether the recording is included or not.

*1945-1960
From the end of World War I up to the beginning of the rock era (mid '50's) there is an increasing influende of jazz on popular music. What was said about The Swing Era 1935-1945 can also be said about the 1950's. More and more jazz musicians are used to back up popular artists and rock stars. Some of these are included but far from all.

*1960-
Jazz now developes in various directions and there are fusions with other genres and styles. This makes it even more difficult to draw lines, still everything between traditional jazz and "free form" is represented in our selection.

ISSUED-NON ISSUED
"A Swedish Jazz Discography - 1899-1999" only registers commercially issued, ncb-registered phonograms. Demos, acetates, bootleg recordings, private recordings, radio programs, home made CD's etc. are not being included.

SWEDISH-FOREIGN
Recordings by Swedish musicians in Sweden and abroad are being included. If the artists have had a subordinate role the recording will not be included in our discography (E.g: A Swedish musician being a member of a brass-section in a foreign big band). In some cases such recordings have been included as an example of the participation of a certain musician, like Åke Persson with Rias Big Band in Berlin (especially if he/she is playing a solo).

ABBREVIATIONS, HEAD LINES, RECORDING DATA ETC.
Current English abbreviations are being used in the order: brass-, reed-, rhythm-section followed by vocalist(s), director and arranger.
Orchestra/band, pseudonym etc. is given in bold type before the line up (especially on 78's).

Headlines can refer to name of orchestra/band, pseudonym, band leader or soloist. E.g: Egba, Bob Larny, Thore Ehrling and Monica Zetterlund.

Date of recording is presented for each recording in italics, place of recordings is only presented for recordings made outside Stockholm.

Matrix number is presented to the left of the title

If a Swedish composer has cooperated with a non Swedish composer only the former name is presented. E.G: Thore Ehrling would be ".../TE".

A vocalist mentioned in the line up shown by his/her initials (lower case letters in brackets) after the title of the melody. If the vocalist is mentioned in the line up and there are no brackets after the titles the artist is performing on all titles mentioned.

Phonograms often have a name. This name is given underlined after the line up. If the underlined title is given over the line up the following titles and the orchestra/band is only part of the phonogram.

COMMENTS, CORRECTIONS ETC.
We would appreciate hearing from you. The best way to do so is via e-mail:
jorgen.adolfsson@visarkiv.se
You can call us Tuesday through Friday on +46 8 519 554 99 between 12 and 16. You can also send "snail mail" to:

Svenskt visarkiv
Jazz Collections
Att: Jörgen Adolfsson
Box 16326
SE-103 26 Stockholm
SWEDEN