NANNIE PORRES, TORGNY BJÖRK, BERNT ROSENGRENS ORKESTER & HERR T OCH HANS SPELMÄN - Horisontlinje (YTF, 1974)

 
Swedish vocals, spoken word
International relevance: *

Consider this a peripheral inclusion, as it's in fact rather low on progg content. It still might interest the occasional reader as it features the great talent of Bernt Rosengren. And one of Rosengren's tracks, ”Tortyr” (=”torture”), is in fact an excellent free jazz blast. Unfortunately it's tainted by a poem recital, but that's actually the theme of the album: It's all centered around the works of poet Per E. Rundquist, some with a clear anti-war and anti-fascist stance, so lots of spoken word here. 

On the other hand, you also get the wonderful voice of Swedish jazz singer Nannie Porres which I consider to be just one notch below the untouchable queen of Swedish jazz singers, Monica Zetterlund. Other participants here are visa singer Torgny Björk and folk outfit Herr T & Hans Spelmän. Some fine arrangements and efforts, but as a totality, the album is disjointed and frustrating to listen to. 

Full album playlist

MONGEZI FEZA & BERNT ROSENGREN QUARTET – Free Jam (Ayler, 2004; rec. 1972)

 

Instrumental

International relevance: ***

This is a double punch knockout! Recorded around the same time as trumpeter Mongezi Feza's albums with Johnny Dyani and Okay Temiz, this is miles above them all. (It should be said that Temiz is present here as well, but in a much more appropriate context.) The secret weapon here is Bernt Rosengren's quartet who really goes for it, and his band is a much better match to Feza.

Double CD ”Free Jam” was recorded during two shows in mid and late November 1972, and the title explains it all: this is collective improvisations. A dangerous game if you can't find the flow, but these five gentlemen sure do. They touch on multiple jazz styles, or more like referencing them, because it's all free jazz in the best sense of the word. Powerful, energetic, symbiotic, osmotic. It's so exhilarating when it happens and this is an exhilarating release.

The sound quality isn't top notch, it's a slightly distant audience recording from a somewhat echoey venue, but the force of the music still comes through with crystalline focus. If you're used to listening to free jazz it shouldn't be much of a problem, as many obscure free jazz albums aren't any hi-fi experiences anyway. And this is one of the finest examples of the style recorded and released in Sweden.

Selective album playlist (Bandcamp)

BERNT ROSENGREN – Notes From Underground (Harvest, 1974)

 

Instrumental
International relevance: ***

Tenorist Bernt Rosengren is one of the major Swedish jazz musicians, and if you're at all into Swedish jazz, you neither should nor could pass him by. He played with so many, both domestically and internationally, from Sevda to Krzysztof Komeda, from Nature to Don Cherry, from later era Eldkvarn to George Russell. Not to mention his great albums as a leader of which ”Notes From Underground” stands out as his major opus. Yes, it is a jazz album, but it's so sprawling and free-spirited, spanning so many expressions that you soon just forget about genres and simply think of it as music delivered with an amazing joy of playing. And just look at the line-up: Maffy Falay, Okay Temiz, Salih Baysal, Gunnar Bergsten, Bengt Berger, Tommy Koverhult, Torbjörn Hultcrantz, Bobo Stenson, Björn Alke, Leif Wennerström, Bertil Strandberg and of course Bernt Rosengren himself. With such a heavy lot you just know that this can't go wrong. And of course it doesn't.

There's the bluesy lyricism of the short version of ”Markitta Blues”, there's the Pharoah Sanders permeated spirituality of ”Iana Has Been Surprised In The Night”, there's the 'free bop' of ”Gerda” and ”Splash”, there's ”Some Changes V” – almost a miniature throwback to Rosengren's participation with G.L. Unit. Not to mention the Turkish portions from the holy trinity of Falay/Temiz/Baysal that breaks through like sudden dreams from another world once on each of the two discs. ”Notes From Underground” is a double album, but never one to feel overstretched and presumptuous – itself an achievement. The whole album is so well composed, so sensitively balanced that it almost surprises you when it's already over.

I sometimes use the word 'monolithic' and I'm going to use it once again. This album is monolithic. And once you've got it, don't stop there – go on to 1971's splendid ”Fly Me To The Sun” and the two volumes of ”Live In Stockholm” recorded in 1974 and 1975 respectively – volume 1 is particularly powerful. And the continue.

Full album playlist minus first track
"Theme From Piano Concerto No. 2 in C Minor, Op. 12" (first track)