Modern mainstream From the 1970s onwards many different forms of jazz have led parallel (and in some cases integrated) lives in Sweden. The scene has been dominated by what could be described as “modern mainstream”, based on the jazz of the 1950s and 1960s. One reason for this is that jazz education has generally emphasised the formal rules of the musical language and repertoire of that era. Another reason is that this tradition has been passed on by the still very active 1960s’ generation to young, up-and-coming players. The boundaries of this style have also been widened, allowing for a greater amount of freedom. Nowadays almost anything is possible, from the very formal to a free, intuitive exchange of musical ideas. The ever-expanding repertoire not only encompasses a wealth of new compositions but also material derived from ethnic sources and other non-conventional contexts. Pianist Bobo Stenson (photo: Mikael Grönberg) (b. 1944) and bassist Palle Danielsson (b. 1946) were among the rare young musicians of the 1960s who chose to make jazz their means of expression. Both gained wide musical experience early on, working with leading Swedish musicians as well as American guest artists. The two joined forces in the quartet Rena Rama, one of the most influential Swedish jazz groups of the 1970s. The repertoire mostly consisted of compositions by members of the quartet, as well as folk music material from Africa and Asia.  Rena Rama: Silhuett (1979) from 'Inside-Outside' [Caprice CAP 1182] Together with another member of Rena Rama, saxophonist Lennart Åberg (b. 1942), Stenson also worked with Turkish drummer Okay Temiz’s group Oriental Wind. As the name suggests, Oriental Wind focused on musical material from Turkey, the Middle East and India. In the 1970s Stenson also led a quartet together with Norwegian saxophonist Jan Garbarek, who in his turn worked with Palle Danielsson (picture) in American pianist Keith Jarrett’s widely acclaimed quartet. With his brilliant, imaginative bass playing, Danielsson has enhanced concerts and recordings in numerous countries during the 1990s, both with his own group and in collaboration with many top names in jazz. Bobo Stenson was a member of American saxophonist Charles Lloyd’s quartet for many years. He also plays in numerous Swedish groups, but his most notable success has been as leader of his own trio with bassist Anders Jormin and for many years, also Norwegian drummer Jon Christensen. The music is sparse and dynamic with a sensitive interplay between the three musicians. Jormin (b. 1957) is a brilliant and imaginative instrumentalist who has also fronted several groups of his own. He has also recorded a remarkable solo album and written music for a variety of settings and contexts, including theatre plays.  Palle Danielsson: Monk's Mood (1994) from 'Contra Post' [Caprice CAP 21440]

Modern mainstream (1 of 3)
Lars Westin: Jazz in Sweden - an overview