Friday, November 10, 2006

Swedish Jazz 1940 - 1953

( Naar de Nederlandse vertaling.)

Swingin’ sounds from Sweden
Audio Park APCD-6105


When the German occupied large parts of Europe they left their marks on the amusement music. Jazz music was forbidden. Sweden wasn’t occupied and by the outbreak of the war the American swing was already very popular. One of the leading stars of that moment was Alice “Babs” Nilson, who became very popular.
During the war years Sweden was isolated from the rest of the world. Jazz records and artists from countries like the US, couldn’t reach jazz musicians. It didn’t mean that music development came to a standstill; oh no, entertainment business flourished and Swedish jazz expanded.
Jazz was played in many dance venues all over the country. A lot of records were made, due to the fact that there was no import at all.
When the war was over, Swedish musicians were anxious to hear the new records from the homeland of jazz and when the first American musicians, like Dizzy Gillespie, James Moody and Charlie Parker entered Sweden the musicians were sitting on the front row. Stan Getz and Lee Konitz brought new sounds to Scandinavia, labelled as “cool” jazz.

During the period of this compilation (1940-1953) a new jazz generation was emerging in Sweden, like Putte Wickman, Åke Hasselgård, Rolf Ericson, Lars Gullins and Arne Domnerus. Åke Hasselgård, better known as Stan Hasselgard, left for the States when the war was over and became a member of Benny Goodmans septet. Rolf Ericson played his trumpet in the leading big bands of that period, like Woody Herman and Duke Ellington to name some. Stan Hasselgards recordings are to be found on the Audio Park APCD-6102 CD, titled Modern Clarinet Classics
.
Putte Wickman is to be found on both albums for some 1949 sessions. (tr. 9-10). Arne Domnerus is present as one of the musicians in the band of the Delta Rhythm Boys ( tr. 7-8) and in his own 1949 Favourite Group (tr. 14-15) which included James Moody (tr. 14) who was on tour in Sweden. This great compilation ends with the young significant personality in Swedish jazz of the 1950s, Lars or Lasse Gullins. He is to be found on baritone saxophone with his quartet in a 1951 session ( tr. 17-18) and as one of the members of the Four Tenor Boys, together with Rolf Blomquist, Arne Domnerus and Gosta Theselius. ( tr 19-20)

It is remarkable to learn how Swedish jazz had developed during this period and had given it a great advantage to the musicians in the occupied countries who couldn’t develop freely

A compilation that should be in your collection.


WALTER LARSSON med sina SWINGERS: 1. What A Night, What A Moon, What A Girl 2. The Touch Of Your Lips ( 13 Nov. 1941) – STIG HOLMS SWING KVINTETT: 3. When Day I Done ( 22 Oct. 1940) 4. Jazz Me Blues (14 Apr. 1947) 5. I’m Looking Over A Four Clover (Mid 1948) – THORE EHRLINGS ORKESTER 6. Seven Eleven ( 15 Aug. 1952) SIMON BREHMS ORKESTER 7. Begin The Beguine 8. On The Sunny Side Of The Street ( 2 Aug. 1950 ) DELTA RHYTHM BOYS 9. Liza ( 26 Jan. 1949 ) 10. Deep Purple ( 4 May 1949 ) PUTTE WICKMANS ORKESTER 11. Three Little Words ( 27 Nov 1951) ANDREW BURMAN & HIS METRONOME ALL-STARS 12. Softly As In A Morning Sunrise ( 15 Oct. 1953) SWINGING SWEDES 13. Twenty Four Robbers (19 Sep. 1949) CHARLES NORMAN QUINTET 14. Car Rider 15. Everything But You ( 6 Oct. 1949) ARNE DOMNERUS’S FAVOURITE GROUP 16. Fascinating Rhythm ( 30 Oct. 1953) CARL-HENRIK NORINS TRIO 17. Dancing In The Dark 18. Alone ( 9 Oct. 1951) LASSE GULLINS QUARTET 19. The Girl With The Net 20. Any Time ( 11 Jan. 1952 ) FOUR TENOR BROTHERS.

Keep swinging

Hans Koert

You can contact me at keepswinging@live.nl

Nederlands ( To the English translation )

SWEDISH JAZZ 1940 – 1953
Swingin’ sounds from Sweden
Audio Park APCD-6105


De Duitse bezetting tijdens de Tweede Wereldoorlog heeft zijn sporen op de amusementsmuziek achtergelaten. Jazzmuziek werd verboden. Zweden werd niet bezet en in het begin van de veertiger jaren was de Amerikaanse swing razend populair. Eén van de grootste artiesten uit die tijd was Alice “Babs” Nilson.
Tijdens de oorlogsjaren waren de Zweden geïsoleerd van de rest van de wereld. Jazzplaten en – artiesten uit landen als de VS konden het neutrale Zweden maar moeilijk bereiken. Dat betekende echter niet, dat er op muzikaal gebied niets gebeurde; zeker niet, de amusementsmuziek floreerde als nooit te voren. Jazzmuziek was te horen in dansgelegenheden verspreid over het hele land. Er werden veel opnamen gemaakt van Zweedse musici, dankzij het feit dat er geen platen het land binnen kwamen.
Na de oorlog waren de Zweedse musici erg geïnteresseerd in platen en muzikanten uit de Verenigde Staten, het moederland van de jazz. De eerste tournees van Dizzy Gillespie en James Moody en later ook Charlie Parker trokken dan ook veel belangstelling. Stan Getz en Lee konitz brachten een nieuw geluid naar Stockholm – de zgn. cool jazz.

Tijdens de periode die deze CD beslaat (1940 – 1953) ontwikkelde zich in Zweden een nieuwe generatie jazzmusici, zoals de onlangs overleden Putte Wickman, Åke Hasselgård, Rolf Ericson, Lars Gullins en Arne Domnerus. Åke Hasselgård, beter bekend als Stan Hasselgard, vertrok na de oorlog naar Amerika en speelde in het Benny Goodman septet. Rolf Ericson speelde trompet in allerlei big bands, zoals die van Duke Ellington en Woody Herman. >De opnamen van Stan Hasselgard zijn te vinden op de CD Modern Clarinet Classics
( Audio Park APCD-6102). Putte Wickman is op beide CD’s present met een paar opnamen uit 1949 ( tr. 9-10). Arne Domnerus vinden we terug als één van de begeleiders van de Delta Rhythm Boys ( tr 7-8) en met zijn eigen Favourite Group (tr. 14-15) uit 1949 met op één track James Moody als gast, die toen voor een tournee in Scandinavië was. ( tr 14.) De CD eindigt met een aantal opnamen van de jonge Lars of Lasse Gullins, de baritonsaxofonist, die zou uitgroeien tot één van de beste jazzmuzikanten van Zweden. (tr 17-18). Op tenor speelt hij mee als één van de Four Tenor Boys, samen met Rolf Blomquist, Arne Domnerus en Gosta Theselius ( tr 19-20)


Het is opvallend te ontdekken dat de jazzmuziek zich in Zweden veel verder heeft kunnen ontwikkelen dan in de landen, die bezet waren geweest door de Duitsers. Niet verwonderlijk uiteraard; de Zweden hadden zich immers tijdens de oorlog op het muzikale vlak vrij kunnen ontwikkelen.


Een aanrader !!

WALTER LARSSON med sina SWINGERS: 1. What A Night, What A Moon, What A Girl 2. The Touch Of Your Lips ( 13 Nov. 1941) – STIG HOLMS SWING KVINTETT: 3. When Day I Done ( 22 Oct. 1940) 4. Jazz Me Blues (14 Apr. 1947) 5. I’m Looking Over A Four Clover (Mid 1948) – THORE EHRLINGS ORKESTER 6. Seven Eleven ( 15 Aug. 1952) SIMON BREHMS ORKESTER 7. Begin The Beguine 8. On The Sunny Side Of The Street ( 2 Aug. 1950 ) DELTA RHYTHM BOYS 9. Liza ( 26 Jan. 1949 ) 10. Deep Purple ( 4 May 1949 ) PUTTE WICKMANS ORKESTER 11. Three Little Words ( 27 Nov 1951) ANDREW BURMAN & HIS METRONOME ALL-STARS 12. Softly As In A Morning Sunrise ( 15 Oct. 1953) SWINGING SWEDES 13. Twenty Four Robbers (19 Sep. 1949) CHARLES NORMAN QUINTET 14. Car Rider 15. Everything But You ( 6 Oct. 1949) ARNE DOMNERUS’S FAVOURITE GROUP 16. Fascinating Rhythm ( 30 Oct. 1953) CARL-HENRIK NORINS TRIO 17. Dancing In The Dark 18. Alone ( 9 Oct. 1951) LASSE GULLINS QUARTET 19. The Girl With The Net 20. Any Time ( 11 Jan. 1952 ) FOUR TENOR BROTHERS.

Keep swinging

Hans Koert

Je kunt me bereiken via: keepswinging@live.nl

3 Comments:

Blogger Jorgen said...

Thanks, Hans for informing about a somewhat overlooked corner of the jazz landscape. Scandinavia has indeed contributed to the development of jazz, good to learn that a Japanese label has decided to issue these stellar recordings!

Jo

4:35 PM  
Anonymous Kristjan Saag said...

Kristjan Saag replied on 78-L list: I'm afraid this explanation is a little bit too simple.
First: swing was popular all over Europe in the 1930's, not least in Germany where there were many excellent bands, and in Italy - where Mussolini had ruled since 1922.
Jazz recordings were made in Germany even during the early war years; and there were thousands of ways to get around the Jazz-Verbot, the ban was never total. Jazz developed strongly in Germany after WW II with the creation of Radio Big Bands in the early 50's, for instance. This would have been impossible if the ban on jazz had been effective during the Third
Reich.
Moreover: the few years Holland, Belgium, France, Denmark etc were occupied could hardly have arrested the development of jazz in these countries.
General wartime conditions, and postwar conditions probably did more: in the US it even killed the big bands. And the British Ministry of Labour's ban on
foreign jazz musicians in the UK probably hurt development of jazz in Britain more than Hitler's Jazz-Verbot hurt German jazz or jazz in occupied countries.
But true: Sweden was spared the horrors of WW II - that may explain why jazz developed freely, but also why Sweden won more medals in the 1948 London
Olympics than ever before...

Kristjan

9:32 AM  
Anonymous Milan Milovanovic said...

Milan Milovanovic wrote on 78-L list:

This is the same in other countries occupied by Germany, during WWII. I can surely tell (according to various sources) that Friedrich Mayer, leader of
wartime Radio Belgrade big band, played jazz. He changed the usual names of popular American standards, translated into German and played it with great jazz feeling. Somewhere in 1944., Mayer himself even recorded one record in Budapest (for Durium/Patria label) with his little group that played pure jazz (swing) - I can look at the reference book for matrix number if someone
is interesting in this subject. Band called "Mayer's Golden Eight" consisted of various musicians, not necessarily Germans, but Serbian, Jew and Gipsy musicians as well! Jazz music were played during the occupation on Belgrade Radio station, on regular basis.

So, this is only my modest two cents, just to remind all of us that history is not that simple enough. Life, also.

Best wishes,

Milan

9:35 AM  

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