Tough times, great music Thus the 1960s were hard times, both socially and financially, for jazz in Sweden. The only American-type jazz club that survived any length of time was Gyllene Cirkeln (The Golden Circle) in Stockholm. Opened in 1962 and featured both American guests and Swedish bands, but its policy gradually changed in favour of other musical genres. Jazz venues in other larger cities, such as Gothenburg and Malmö, were short-lived, while in other parts of Sweden jazz events were rare or non-existent. Musically, however, the 1960s was a strong decade. Tenor saxophonist Bernt Rosengren (b. 1937), who led his own groups, stood out as a leading force, one of the first young Swedish soloists to emulate the language of American hard bop, albeit with a distinctly personal style of playing. Rosengren became a source of inspiration for many of his contemporaries, not only musically but also morally, since he insisted on playing his own music despite the tough times that Swedish jazz was going through. His music eventually developed towards greater improvisational freedom under the influence of American cornet-player Don Cherry, who worked in Sweden for long periods. Cherry also played an important role in integrating folk music material with jazz. In the early 1970s Rosengren was part of the group Sevda, playing jazz improvisations on Turkish folk melodies in uneven rhythms such as 7/8 and 9/8. Sevda was led by the Turkish trumpeter Maffy Falay (b. 1930), who has lived in Sweden since the 1960s. Later on Rosengren returned to his musical roots, playing bebop-based music and even fronting his own big band at concerts and dance venues.  Bernt Rosengren Quintet: They didn't believe me from "The Hug" (DRCD 211) Trombonist Eje Thelin (photo:Karlheinz Klüter) (1938-90), who toured throughout Europe with his quintet, also played an important role. His playing was strongly influenced by Miles Davis although (like Rosengren’s) it had a strong personal identity. Thelin became disillusioned with the Swedish jazz scene and moved to Austria, where he taught at the conservatory in Graz for several years. He also performed free improvised music with his own groups in several European countries. In 1972 he returned to Stockholm, however, and formed a group which became one of the leading exponents of jazz in Sweden throughout the decade. Later on Thelin mainly devoted his energies to composing and to performing as a soloist. Eventually the music of both Rosengren and Thelin developed towards free improvisation, but each returned to his musical roots during the 1970s.  Eje Thelin: Forward (1962)  from 'Jazz Jamboree 1962 Vol.2' (Muza L0395) Alto saxophonist Christer Boustedt (1939-86), who played the leading role in the widely acclaimed movie “Sven Klang’s Quintet” in 1976, and pianist Lasse Werner (1934-92) combined bebop-based jazz with theatrical effects. Trumpeter Lars Färnlöf (1942-94) and his quintet, which he shared with pianist Staffan Abeleen (b. 1940), developed a somewhat lyrical version of the American hard bop style, based on Färnlöf’s excellent compositions, many of which featured rhythms and melodic lines that had an affinity with Sweden’s musical heritage. Grandfather's waltz became widely known, for instance, and was recorded by Stan Getz and other artists.  Christer Boustedt Quintet with Bosse Broberg: Lush Life (1982) from 'Blues, Ballads & Bebop' [Dragon DRCD 294] Singer Monica Zetterlund (picture) (1937-2005) attracted attention abroad, recording with American pianist Bill Evans and appearing in America, England and other countries. Besides her career as a jazz singer she was also a highly acclaimed film star and stage show artist.  Monica Zetterlund: My funny Valentine (1959) from 'Swedish Jazz History Vol.8' [CAP 22049]

Tough times, great music
Lars Westin: Jazz in Sweden - an overview