_FYR042LP
FYR042LP


LP

Release date: February 21, 2020

Produced by Johan Jutterström and Patric Thorman

Recorded by Petter Hölaas, Patric Thorman and Åke Nimrell at Bergastudion, Åkersberga on July 2nd & 3rd, 2019

Mixed by Petter Hölaas and Patric Thorman at Intelligent Sound, Kungsängen
Mastered by Jon Fält
Art direction and executive production by Patric Thorman

This records was partly funded by:




A1. Tålamod (2:42)
A2. Bells & whistles (A) (17:07)

B1. Bells & whistles (B) (16:45)
B2. Triple Tropical Bull (to Carla Bley) (2:46)

A1 composed by Johan Jutterström (Stim/ncb). A2 & B1 composed by Carla Bley (Alrac Music/BMI). B2 composed by Rasmus Borg (Stim/ncb).




5 stars
(Ave. rating: 5
from 3 votes.)








STHLM Svaga
Bells and whistles
# FYR042LP

Carla Bley and I remember with great intensity a night in San Francisco, in 1968, when we witnessed the loudest music we’d ever heard. It happened at a venue called The Filmore, and the band responsible for the colossal noise was Cream –Eric Clapton, Jack Bruce and Ginger Baker. They played very well, and this wasn’t lost on us, but what we recall most vividly is the shocking shift in scale music at such volume generated, and the recalibration of our senses that shift provoked.

We were reminded of that night when we first heard STHLM Svaga. It’s a mystery that improvisers have ignored the opposite extreme - to play as softly as possible - but here you have it, and it is no less shocking. The psychological effect of STHLM Svaga’s music is a delight: first there’s disorientation, but then there’s reorientation, as you hear that there is, paradoxically, great power in reticence.This is something martial arts masters have long known, and musicians of various sorts, from Morton Feldman to Joao Gilberto, have known about it too, but STHLM Svaga brings this powerful force to jazz, where it hasn’t been before. A corner is turned within the music - the softer the band plays, the more force it generates. As near-silence exerts its powerful effect on the musicians they play less, and what they play assumes startling prominence. A well-placed note speaks volumes.

This music requires intense focus. You’ll need to lean into it, to pay heightened attention. But it simultaneously gives as it makes its demands, offering a trip into a world you haven’t known before, a world of small things made large by a simple but profound shift in perception.
- Steve Swallow





Linda Oláh - vocals
Niklas Barnö - trumpet
Gustav Rådström - alto sax
Johan Jutterström - tenor sax
Rasmus Borg - piano
Elsa Bergman - double bass
Andreas Hiroui Larsson - drums










I nutida improviserad musik är det inte så ovanligt att man spelar så svagt att lyssnarna får skärpa uppmärksamheten och ställa om öronen. I modern jazz, som här, är det mindre vanligt. Carla Bleys cirka trettiofyra minuter långa Bells & Whistles är skriven för just denna grupp (grattis) och omgiven av två korta stycken av Johan Jutterström och Rasmus Borg. Finns på lp och digitalt.

Bleys komposition består av flera långsamma sektioner, ofta som promenad med pianot som metronom, någon gång med småspringande bas, stillastående mellanspel, lite vissling. Gustav Rådströms och Johan Jutterströms alt- respektive tenorsaxofoner kvider, pyser, prövar utan vibrato. Ordlöst från Linda Oláh, spräckligt bräckligt där rösten och saxofonerna försiktigt nystar sig kring varandra. Elsa Bergmans plockade korta basfiolklanger tas upp av Rasmus Borgs vankande piano. En mörk bubblande trumpet med ett nätt och jämnt kontrollerbart övertryck från den oftast ljudstarkt expressive Niklas Barnö. Andreas Hiroui Larsson på trummor lyfter på musiksjoket och släpper in frisk luft. Pianot klingar starkast och mest, en ledsagare som gör färre hyss än de övriga instrumenten vilka fått större frihet att verka i det dramatiskt puttrande tysta. Spännande.

- Leif Carlsson (Lira Musikmagasin)







Press release
English (.pdf)

Press images
Hi-res. (.zip)

Album cover
1500x1500 px. (.jpg)

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