Niels Jørgen Steen & Monday Night Big Band - Swinging In Paradise featuring Bobo Moreno (March 2022 Storyville Records)

Pianist and conductor Niels Jørgen Steen – a Danish jazz institution – is now immortalized on ‘Swinging In Paradise’, a new album from Storyville Records featuring vocalist Bobo Moreno and the ever so swinging Monday Night Big Band.

In the Danish jazz world, Niels Jørgen Steen is the personification of an institution. As pianist, bandleader and arranger he has worked with all the giants like Ben Webster, Coleman Hawkins, Charlie Shavers and Lockjaw. He has been a stand-in for Count Basie on a tour of Italy and has fathered his own bands like Saxmaniacs and the A-Team, but his big baby these days is Monday Night Big Band, now over 20 years old and beautifully immortalized on this live album.

“If we play Singin’ in the Rain”, says Steen, “the audience already knows the tune, so we can ‘play with it´ and take the listener out of their comfort zone, but we always bring it home to the melody. Sure, the arrangements can be difficult, but the musicians love playing something good. It gives a special sense of fulfillment.”

While the line-up has changed over the years, some have been in MNBB since the beginning. These include Roger Berg, Peter Marott, Vincent Nilsson and Jan Harbeck, all of whom smile as they reminisce about how this unique, continuously morphing entity of collegiality, competition, enthusiasm, stress and satisfaction was the catalyst for their careers. It’s the magical, fat sound of a real big band, of a real Danish institution that swings its ass off. Brace yourself…

1. Lover Come Back To Me 05:31

2. All The Things You Are 08:38

3. Cold Cold Heart 03:22

4. It Might As Well Be Spring 06:20

5. Blue 16 05:36

6. Lil Darling 06:11

7. It's All Right With Me 05:31

8. Cry Me A River 04:03

9. Every Day I Have The Blues 04:33

10. The Nearness Of You 05:08

11. The Rhythm 05:36

12. Some Other Time 06:21

13. Shake Rattle And Roll 03:01

Johan Bylling Lang, Jens Søndergaard - as, Tomas Franck, Jan Harbeck - ts, Katrine Suwalski - bars, Carsten Larsen, Andre Bak, Rolf Thofte, Peter Marott – tp, Vincent Nilsson, Rolf Mandiz, Petter Hängsel, Niels Gerhardt – tb, Ida Hvid – b, Morten Højring – g, Marie Louise Schmidt – p, Roger Berg – dr, Niels Jørgen Steen – dir & arr and Bobo Moreno - vo

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Søren Kristiansen & Thomas Fonnesbæk - The Touch (February 2022 Storyville Records)

Only time can tell if a musical composition will be considered a “classical” piece by future audiences, but as Danish music critic Søren Schauser has predicted: “In a couple of years we will see pieces by an Ellington or a Peterson in regular concert programs in entirely classical contexts.”

With “The Touch” Søren Kristiansen and Thomas Fonnesbæk present their take on a classic piece of jazz, playing the music of Oscar Peterson and Niels-Henning Ørsted Pedersen - classical but improvised!

OP and NHØP gave us something unique and unforgettable, just as the classical composers did and still do. Being the world’s greatest virtuosos on piano and double bass respectively, their immense technique and ‘Touch’ made them unique.

Their collaboration was likewise special because they were equals. For instance, Oscar Peterson’s arrangement for “On The Trail” (Great Connection, 1971) was presumably written because he had found a bassist that could keep up both musically and technically.

The music of OP & NHØP is maybe the most challenging repertoire that exists in classical jazz. It requires ‘The Touch’… The nuanced, personal touch – the soft, almost inaudible accompaniment and an effortless technique. Søren Kristiansen describes the process: “Exactly like in soccer, The Touch is something you practice. When you play piano or the double bass you need to be able to control the instrument to express yourself freely in the moment.”

Søren Kristiansen is one of the best and most acknowledged pianists in Denmark. Born and raised on the small Danish island Ærø he became a pianist in Jesper Thilo’s quartet at a very young age and later on he toured in Denmark and all over Europe with a number of great classical American musicians. Søren Kristiansen is famous for his great technique, phenomenal swing, and vast amount of repertoire. An unusual musician – one of the few of his kind in Denmark.

Thomas Fonnesbæk was the obvious choice as bassist to The Touch, and he is one of the younger Danish bass players who continues the virtuosity which NHØP was the first bassist to introduce. There is a wildness and energy in Thomas Fonnesbæk’s musical style that is very unusual. Unorthodox, but technically perfect. 

1. Soft Winds 05:13

2. Nigerian Marketplace 06:59

3. On The Trail 05:43

4. Love Ballade 04:54

5. Night Child 07:23

6. On Danish Shore 06:01

7. Wheatland 06:26

8. There Is No Greater Love 06:44

9. Hymn To Freedom 02:17

Søren Kristiansen – piano

Thomas Fonnesbæk – bass

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Alex Riel / Bo Stief / Carsten Dahl – Our Songs (Storyville Records)

Always curious and always looking for new challenges, Alex Riel has been an important innovator of modern drumming in Europe. He was among the very first to record a “free” solo on his debut album in 1965 and he was a founding member of the beat-group Savage Rose, while also playing with Bill Evans, Ben Webster, Dexter Gordon and being a member of Monica Zetterlund’s quartet. From the last 20 years we know him for his work with Enrico Pieranunzi, Kenny Werner, Mads Vinding and many others.

On “Our Songs”, Alex Riel brings together two musical “playmates”: The legendary bassist Bo Stief, who like Riel, belongs to the generation of Danish musicians who started their professional careers at Montmartre in the 60s, and Carsten Dahl, one of Europe’s most innovative piano players.

The trio plays in balance with themselves and each other, and simply lets the music flow unhindered. So where, then, does the music flow? Basically, this is classic piano-trio jazz, and while Carsten Dahl is “in charge”, he never overshadows the trio’s creative affinity. Quite appropriately, the mood is established with, “My Song” a classic Keith Jarrett number. In many ways Riel’s playing is discreet, often poetic, so it’s fitting that Dahl has dedicated his composition for the album, “The Poet” to Alex. We are also treated to a couple of melancholic Swedish folk songs reminiscent of legendary pianist Jan Johansson, plus the trio’s own folklore-inspired “Høstdansen” (“Harvest Dance”). Along the way there are also four freshly interpreted American jazz standards, including John Coltrane’s “Giant Steps” as a lyrical ballad - in direct contrast to the high-powered original version.

The personal and musical friendship of the three musicians is obvious. It's playful, creative and beautiful when Alex Riel, Bo Stief and Carsten Dahl play their songs. 

1. My Song 03:44

2. Høstdansen 02:58

3. Moon River 05:22

4. Den milde dag er lys og lang 02:26

5. The Poet 05:15

6. Vem kan segla forutan vind 04:00

7. My Funny Valentine 04:44

8. Stella by Starlight 05:14

9. Giant Steps 03:28

10. Jag vet en dejlig rosa 02:30

11. Drømte mig en drøm 03:08

Alex Riel – Drums

Bo Stief – Double Bass

Carsten Dahl – Piano

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Mads Mathias - I'm All Ears (November 12, 2021 Storyville Records)

Mads Mathias’s highly anticipated second album of original jazz songs arranged for small ensemble, big band and strings, is due for release on 12th Nov 2021.

Since his breakthrough in 2012, leading Nordic jazz vocalist/saxophonist Mads Mathias has received numerous awards and toured clubs and festivals across Europe and Asia, performing at concert halls such as the Royal Albert Hall and Royal Festival Hall in London and the Forbidden City Concert Hall in Beijing. He has also frequently fronted the Danish Radio Big Band.

On this, his sophomore album, Mads has gathered together some of the best in the business, from Grammy-nominated DR arranger Peter Jensen and the UK's leading jazz arranger Guy Barker (London Jazz Festival’s ‘Jazz Voice’) to the leader of the renowned Danish String Quartet – Rune Tonsgård, Brazilian Pandero master Bernardo Aguiar and one of the world’s best harmonica players, Mathias Heise.

Alongside these new collaborators are long-time associates ‘the Quentin Tarantino of Danish jazz’ and playmate since childhood Peter Rosendal (keys), Morten Ankarfeldt (bass) and Esben Laub & UK rising-star James Maddren on drums, plus an incredible horn section.

‘It’s been really exciting to work with these amazing musicians and be able to use different instrumentation to best deliver each song’ Mads comments. In so doing, the album provides great variety, yet with a forward-looking, original and consistent ‘sound’ throughout.

1. Forget Me Not

2. Labour of Love

3. Angel in Disguise

4. I'm All Ears

5. Marigold

6. Forbidden Word

7. Henpecked Man

8. If I Were a Dancer

9. Little Then Did I Know

Mads Mathias - Lead Vocals & Tenor Saxophone

Peter Rosendal - Piano

Morten Ankarfeldt - Bass

James Maddren - Drums

Rune Tonsgård - Violin

Charlotte Rafn - Violin

Jens Balslev - Viola

Therese Åstrand Radev - Cello

Mathias Heise - Harmonica

Bernardo Aguiar - Percussion

Anders Gustafsson - Trumpet

Mårten Lundgren - Trumpet

Michael Blicher - Tenor Saxophone

Peter Jensen - Trombone

Jan Harbeck - Baritone Saxophone

Espen Laub von Lillienskjold - Drums

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Jeppe Gram - The Doldrums (October 2021 Storyville Records)

The Danish drummer Jeppe Gram has long been a prominent figure on the Danish jazz scene. The Doldrums features nine new compostions and is his fourth album as a composer & bandleader. For this project Gram has brought together three generations of musicians who are all key figures on the Copenhagen jazz scene.

Tenor Tomas Franck is orignally from Sweden but has been one of the greatest personalities on the Danish jazz scene for decades.

The middle generation is represented by cornet player Tobias Wiklund who moves freely between modern artistic expression and a more traditional sound, and Anders Fjeldsted who has played with acclaimed local and international jazz musicians and in 2017 was one of the recipients of the Bent Jædig-Award. Jacob Artved and Ollie Wallace represent the younger generation, but are already well established musicians and are celebrated as two of the greatest young talents on the contemporary Danish jazz scene.

The mix of musicians from Gram's life from past to present is an essentiel part of the album and he describes the music as instinctively relatable for the musicians, regardless of the age differences. Musically, The Doldrums is centered around variations on the blues: both the lamenting feeling and, in a more music-theoretical sense, the blues as a form or shape with great inspiration from Gram's own jazz heroes, such as Kenny Garret, Joshua Redman and Charlie Haden. “This album is my way of saying THANK YOU to all the music and all the people who meant a lot to me back thenand still continue to do so today - musicians who have helped me develop into who and where I am today.

1. The Shooter 07:25

2. Once, Maybe Twice 05:12

3. Come And Go 06:24

4. For The Love Of The Old Beat 08:03

5. Pastoral 03:03

6. Later Blues 05:48

7. Other Windows 06:20

8. Where And When 04:04

9. The Doldrums 04:59

Jeppe Gram - Drums

Ollie Wallace - Alto Saxophone

Tobias Wiklund - Cornet

Tomas Franck - Tenor Saxophone

Jacob Artved - Electric Guitar

Anders Krogh Fjeldsted - Bass

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Duke Ellington - Berlin 1959 (August 2021 Storyville Records)

What we have here is the welcome memento of Duke Ellington and his band’s 1959 European tour.

Berlin’s Sportpalast is not a concert hall and during the cursed Nazi reign often was the site of speeches by Hitler and his fellow criminals, but the hall can be said to have been thoroughly purified by sounds of jazz by the time of this concert.

The music starts with the Ellington Medley, by then a standard concert opener in varied embodiments. Critics often chided Duke for (in their opinion) overdoing this staple, but in fact it was not only a clever way of dealing with what undoubtedly would have been audience requests for beloved Ducal standards, but also a way of celebrating the continued life of his musical heritage. It also was subject to constant change, some due to new voices in the band, but most caused by Ellington’s own way of not making it a bore for his musicians. The Medley has a longer history than even serious students of Ellingtonia know. It makes its first appearance on records when Victor Records, in the depth of the Depression, introduced the Long-Playing Record. Yes, dear reader, in 1932! The discs, of a nice silvery hue, of course required a phonograph that could accommodate the required speed which was quite reasonably priced.

Some observations regarding personnel: An important new voice in the trumpet section was that of Clark Terry, previously with Charlie Barnet and Count Basie, most prominently. He came into his own with Duke but left after feeling that he got little to play other than his feature, Perdido. Aside from Terry, a non-soloing but important lead voice in the trumpet section is that of Andres Merenguito, also known as Fats Ford, who had served in Louis Armstrong’s last big band.

Trombonists Booty Wood and Britt Woodman/ the former great with the plunger mute, the latter great with high notes, were both proof of Duke’s way of finding new voices with personal traits. But the star of the section is Quentin “Butter” Jackson, whose long career included stints with McKinney’s Cotton Pickers, Cab Calloway, and Don Redman, first from 1932 to 1939 and then again for the 1946 European tour that included Copenhagen—first post-war visit by an American jazz band.

Bassist Wendell Marshall, a cousin of the immortal Jimmy Blanton, had some of the family genes with his full, pleasing sound, fine intonation and solid time. Less known is drummer Jimmy Johnson, remarkably effective as a stand-in for the gifted but frequently absent Sam Woodyard (they shared the drum chair for a moment). And then, of course, last but by no possible means least, the Ducal piano, from which he directs like a master conductor and accompanist. As is not always the case with live recordings he has a fine instrument at his disposal in Berlin, but one shortcoming here is the omission of his very personal verbal comments, mainly invocations of the soloists (some can be distantly heard).

We can be sure that the audience left satisfied—and so will you, having spent time in the good hands of a master. 

1. Black And Tan Fantasy 02:16

2. Creole Love Call 02:00

3. The Mooche 04:18

4. Newport Up 04:38

5. Such Sweet Thunder 02:39

6. Sonnet to Hank Cinq 01:28

7. Medley: Kinda Dukish / Rockin’ In Rhythm 05:58

8. El Gato 04:10

9. Flirtibird 02:48

10. Things Ain’t What They Used To Be 03:13

11. Skin Deep 11:23

12. VIP Boogie 03:13

13. Jam Wih Sam 03:55

14. St. Louis Blues 03:08

15. Bill Bailey 02:30

16. Walkin' And Singin' The Blues 02:28

17. Don't Get Around Much Anymore 01:48

18. Do Nothing Till You Hear From Me 00:34

19. I Got It Bad 02:37

20. In A Sentimental Mood 00:50

21. Mood Indigo 01:03

22. I'm Beginning To See The Light 00:49

23. Sophisticated Lady 02:14

24. Caravan 01:41

25. Solitude 02:45

26. Satin Doll 03:36

27. Medley: I Let A Song Go Out Of My Heart / Don’t Get Around Much Anymore 01:34

28. Basin Street Blues 07:22

Cat Anderson, Andres Marenguito (aka Fats Ford) (tp), Clark Terry (tp, flgh), Ray Nance (tp, vln, vo), Britt Woodman, Quentin Jackson, Booty Wood (tb), Jimmy Hamilton (cl, ts), Russell Procope (as, cl), Johnny Hodges (as), Paul Gonsalves (ts), Harry Carney (bars, cl, bcl), Duke Ellington (p), Jimmy Woode (b), Jimmy Johnson (dr), Lil Greenwood (vo)

Personnel on Basin Street Blues: Ray Nanace (tp, vo), Clark Terry (tp), Russell Procope (cl), Quentin Jackson (tb), Duke Ellington (p), Jimmy Woode (b), Jimmy Johnson (dr)

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Tommy Flanagan - Solo Piano (June 2021 Storyville Records)

Tommy Flanagan was known for his tasteful, flawless and swinging piano playing. He added class to every session that he was involved with and fortunately it was well documented during the latter part of his career. Solo Piano was not initially released until decades after its 1974 recording. It is significant historically because this outing was the pianist’s first recording as a leader in 13 years and, most importantly, because it is very good music.

Until the long delayed release of Solo Piano, it was believed that Tommy Flanagan’s “comeback” began with 1975’s The Tokyo Recital for the Pablo label and that his only full-length album of unaccompanied piano solos was 1977’s Alone Too Long which was released by Denon in Japan. Solo Piano forced a slight readjustment of the jazz history books and, most importantly, offers listeners some very enjoyable music from the great pianist.  It also includes a few surprises, particularly for those listeners who think of Flanagan as primarily a bop stylist.

When swing was succeeded by bop as jazz’s modern mainstream, the function of the piano changed from being a timekeeper to take part of the rhythm section. While the pre-1945 styles of jazz piano had the pianists keeping time with his or her left hand, usually by striding back and forth between bass notes and chords, in bebop that role is usually handled by the string bassist. Bop pianists use their left hands to hit chords on a more unpredictable basis, accenting beats like a drummer “dropping bombs,” while their right plays hornlike lines.

That approach works perfectly in trio settings but can leave some pianists sounding incomplete when taking unaccompanied solos. Bud Powell, the leader in the field, was able to imply the beat and slightly adjust his style when playing solos. In the case of Tommy Flanagan, his ability to play swing was a major asset and in a solo setting he often added a modified stride, as can be heard on his version of “Sleeping Bee.”

On swing-oriented numbers such as “Isn’t It Romantic,” “Sleeping Bee” and “Yesterdays,” Flanagan always kept the melody close by even while creating improvised variations. One never has a problem knowing where the pianist is for he builds his improvisations off of the melody rather than simply discarding the theme in favor of jamming over its chord changes. He follows those classic songs with an infectious version of “Stompin’ At The Savoy” that manages to sound both vintage and modern.

To conclude the enjoyable program, Flanagan performs a song apiece by three great composers of the bebop era (Dizzy Gillespie’s “Con Alma,” Tadd Dameron’s “If You Could See Me Now,” and Thelonious Monk’s “Ruby, My Dear”) before ending the set with a joyful rendition of “Lover.”

By the time Tommy Flanagan left Ella Fitzgerald’s backup band in 1978, his series of trio recordings had reminded the jazz world that he was a brilliant and very musical pianist. He worked steadily during the next 23 years, touring Europe and Japan while being based in New York and remaining one of the most consistently satisfying of all jazz pianists. Flanagan passed away on Nov. 16, 2001 at the age of 71 but he has never been forgotten. Tommy Flanagan is remembered with love, respect and admiration for his playing and his classy nature. Solo Piano adds to his impressive musical legacy. 

1. Parisian Thoroughfare 03:36

2. Wail 02:38

3. Isn't It Romantic 03:37

4. Sleepin' Bee 04:46

5. Yesterdays 03:29

6. Stompin' At The Savoy 04:42

7. Strayhorn Medley 11:50

8. Con Alma 03:07

9. If You Could See Me Now 03:26

10. Ruby My Dear 03:02

11. Lover 02:43

Tommy Flanagan - Piano

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Carsten Dahl - Sagn (June 2021 Storyville Records)

’Sagn’ in English means ‘saga’, and is a narrative or legend founded in the oral tradition. Many sagas were written down much later than they first originated, then finally published in collections of folklore.

Here you will hear a kind of music that Carsten Dahl ‘downloads’ in the moment, with no agenda or deliberation involved in the creative process. In a timeless state where he lets his own, inner soundboard resonate to the sound of the universal language that flows as energy, continuously offering information about the eternal.

Using only his right hand, the music was recorded in one, long take (or flow), with no post-editing.

Carsten Dahl is today considered one of the most innovative and genius improvising musicians. His substantial talent seems to be unlimited. With free expressions within the jazz tradition and an almost scary level of originality and narrative ability, he composes orchestral works and plays as a multiinstrumentalist in his own productions. Through his career, he has appeared on more than 300 CD's and received a countless number of prizes and praises by critics all over the world.

1. D mol 04:35

2. D dur 01:15

3. G mol 02:28

4. G dur 01:19

5. C mol 01:50

6. C dur 01:22

7. Fis mol 01:25

8. Fis dur 01:30

9. Cis mol 02:08

10. Db dur 00:57

11. A mol 01:49

12. A dur 00:59

13. E mol 02:23

14. E dur 00:54

15. F mol 01:30

16. F dur 00:56

17. Bb mol 02:59

18. Bb dur 00:58

19. Eb mol 01:27

20. Eb dur 01:23

21. H mol 02:03

22. H dur 01:42

23. Ab mol 01:26

24. Ab dur 01:43

Carsten Dahl - piano

A limited vinyl edition will be released later this year, but it's unfortunately delayed due to COVID-19 and high demand on vinyl pressings. It'll be available for purchase here as soon we have it in stock.

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Rosa Passos Quartet - Dunas (Live in Copenhagen) May 21, 2021 Storyville Records

Rossa Passos is considered one of the most important and loved Brazilian singers. Many music fans view her as the queen of modern bossa nova and samba, and she’s equally loved in South America, Japan, USA and Europe. Whether she’s playing with Kenny Barron or Yo Yo Ma she easily sells out Carnegie Hall in New York. She also enjoys touring with her quartet at jazz festivals and jazz clubs around Europe.

Rosa Passos is part of the golden generation of Brazilan musicians that includes Joao Bosco, Joyce Moreno, Gilberto Gil, Gal Costa, Maria Bethania, Milton Nascimento, Ivan Lins and many other great artists. Rosa Passos is especially loved for her elegance and soft touch. Her musicality is an inspiration to singers all over the world.

Her music speaks to everyone, you don’t need to know about jazz or music to understand and enjoy – there is something universal to her vocal and approach that instantly makes the listener go along on the journey Rosa sets out for. It’s always beautiful and if you close your eyes you can feel the Brasilian soul and see the beaches for your inner eyes.

On July 7th, 2001 Rosa Passos played two sets at the famous Copenhagen Jazzhouse, one of the best jazz clubs in Europe for more than 25 years. The concerts took place as part of a bigger summer tour of Europe, with Rosa Passos playing all the important jazz festivals. In 2001 she was still unknown to the audience in Copenhagen, but Steen Rasmussen, a Danish pianist who was there, remembers:

“Her playing was flawless and sophisticated - and it swung like crazy. It was already the best music I’d ever heard. Then she began to sing - and I was almost in a trance. That voice, that phrasing, that swing, that empathy, that way she accompanied herself – and that low volume. I could tell everyone present felt the same. Rosa Passos had changed all our lives forever”

The experience speaks to the impact Rosa Passos has on people when they have the honor of experiencing her talent first-hand. She’s intimate and powerful at the same time, and the tunes she plays, a mixture of her own compositions and Bossa Nova-classics, support her means of expression in the best way possible. This recording from Jazzhouse presents her and her band at her best. The sound is crisp, and the presence allows for the pure expression to shine through, and makes you wish that you had been there to experience this very special night in Copenhagen.

“Imagine you are rocking a baby to sleep. For me, that’s Bossa Nova” – Rosa Passos

1. Cigano

2. Marina

3. Rosa Morena

4. Sábado Em Copacabana

5. O Que É Que a Baiana Tem?

6. Chuva de Verão

7. Águas de Março

8. Dunas

9. Juras

Rosa Passos: Vocal & Guitar

Fabio Torres: Piano

Paulu Paulelli: Bass

Celso de Almeida: Drums

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Jørgen Emborg & Steve Swallow - Over the Rainbow (Remastered 2021) May 7, Storyville Records

This 1992 set showcases the work of the Danish pianist/composer Jørgen Emborg with a quintet including his specially invited guest, the American bass-guitarist Steve Swallow. The leader (born in Frederiksberg on March 29 1953) had already packed a lot of musical experience into his career. Bursting upon the scene as early as 1975 at the famous Dunkerque Jazz Festival, he had become a permanent member of the Danish Radio Big Band, alongside working with such varied visiting artists as Eddie Harris, Red Rodney and Dee Dee Bridgewater. Now described as probably the most important composer of contemporary Danish jazz, he created two significant albums incorporating vocalist Mona Larsen (Ships In The Night and Face The Music) and Moonsongs with Susanne Palbol in 2005.

The career of Steve Swallow (born October 4 1940) has been equally broad-based. Taking up the bass only at the age of 18 after studying piano and trumpet, he soon joined Paul Bley and, with Bley, the free-jazz edition of the Jimmy Giuffre trio; at the other end of the stylistic spectrum, he played later in the 1960s for Art Farmer, Gary Burton and, with Burton, the Stan Getz quartet. An early champion of the writing of Carla Bley, he became her sideman (and eventually her partner) while also developing his own skills as a composer; later, he also became a successful free-lance producer, working on albums by John Scofield, for instance.

Most significantly, beginning in the 1960s, he has taken the bass-guitar from being an instrument only accepted in rock or fusion contexts to one which, through his mobile lines and veiled, singing tone, has helped to set the standard for bass playing in even acoustic jazz groups. Interestingly, Swallow’s acceptance of the JAZZPAR invitation to appear as the guest of Jørgen Emborg was, as it turned out, chronologically linked in with another guest appearance he made on a recording project by the great Danish bassist Niels-Henning Ørsted Pedersen. And it’s appropriate here to mention the inclusion in Emborg’s group of drummer Alex Riel who, although he had previously collaborated with Emborg, first became widely known as NHØP’s colleague in the house rhythm section of Copenhagen’s Montmartre Club in the 1960s.

Riel had preceded Emborg in being selected as one of the JAZZPAR featured artists in 1990, as had the young saxophonist Fredrik Lundin who, as composer, contributed one of the works for Lee Konitz’s performance with the JAZZPAR Nonet, also recorded as part of JAZZPAR’s 1992 celebrations.

The history of the JAZZPAR AWARDS constitutes, in retrospect, a significant development in the recognition of jazz by international arbiters of taste, and by distributors of monetary recognition. Set up by the Danish Jazz Center and sponsored by Skandinavisk Tobakskompagni, it was the first award in the jazz field to offer an international nominee not only the exposure of a concert series, but the donation of a statuette and a significant cash prize (amounting to 200,000 Danish kroner). Between 1990 and 2004, the award was made to several American performers but also, reflecting the history of the music itself, to six Europeans (Tony Coe, Django Bates, Martial Solal, Marilyn Mazur, Enrico Rava and Aldo Romano). 

1. Uneven Thinking

2. Waltz In Four

3. Forgotten Truth

4. Over The Rainbow

5. My Kind Of Blues

6. On The Second Day

7. Some Other Time

8. Password

9. Say After Me Please

10. Sweak Spedish

11. One Step At A Time

12. Impatience

13. Temporary Agreement

Jørgen Emborg - Piano

Steve Swallow - Bass Guitar

Fredrik Lundin - Tenor Saxophone, Soprano Saxophone

Alex Riel - Drums

Lisbeth Diers - Percussion

Recorded at Sun Studio in Copenhagen, March 28th and 29th, 1992

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Steen Vig - Blue Boat (Remastered 2021) April 16, 2021 Storyville Records

In 1993, Steen Vig was one of the danish musicians to receive the Jazzpar Award which consisted of appearances on the Jazzpar concert tour with the opportunity of inviting one or two international musicians of the recipients’ own choice followed up by a recording. Steen Vig decided to invite Gene “Mighty Flea” Conners and Cornell Dupree to record with him and his “Bluesicians”. The result was Blue Boat: An eclectic album spanning from Dixieland and swing to blues and funky soul jazz tunes. Unfortunately, Steen didn’t live to see the album released. He died of a heart attack in his home on January 1., 1994. He was 49.

Originally released in 1994, Blue Boat is now reissued as part of the Jazzpar Remastered series, including albums by Roy Haynes, Geri Allen, Lee Konitz and more. The Jazzpar Prize was initiated by the Danish Jazz Center in 1990. Back then, musicians spoke unofficially of the “big” and the “small” Jazzpar. The “big” Jazzpar being a statuette and a cash award of DKR. 200.000, given to a musician of international acclaim, while the “small” Jazzpar was given to two Danish artists; in 1993, those two were Steen Vig and Kim Kristensen.

The guest stars on Blue Boat gives a good indication of the stylistic range: Gene ‘Mighty Flea’ Conners, with a career covering everything from blues and early RnB to dixieland and swing jazz, joins Ole ‘Fessor’ Lindgreen on the trombone, while guitarist Cornell Dupree, who has worked with artists like Aretha Franklin, Joe Cocker and Bill Withers, brings a funky guitar and some great blues solos to the album. With energetic performances from both international stars and danish top musicians like Ole ‘Fessor’ Lindgreen and Hugo Rasmussen, this album displays Steen Vig playing at the top of his game. And he always did that:

“He was one of those musicians who gave everything he had in him each time he performed, and if necessary, he would find an extra ten percent deep down in some recess of hidden resources. He was also one of the funniest men I’ve ever met. (Listen to this album’s closing track with the Dadaistic title Hotel Blækregning – roughly translated from Danish: Hotel Arithmetic Homework,)” Paul Banks recalls.

Banks continues: “He was a long-term member of Fessor’s Big City Band, but most Mondays he played at the Copenhagen jazz club Vognporten with the Steen Vig Swingsters. Their eclectic mixture of blues, traditional jazz, swing, funky New Orleans, Beatles tunes – you name it - drew huge crowds. The band was great, but what we really came for were Steen’s saxophones. His Bechet-inspired soprano was touching and powerful, and the growling sound of his tenor was huge, warm and swinging. Sometimes when he felt the need to shift to an even higher gear, he would play both at the same time.“

Steen was one of those musicians you wanted to hear on stage for the full experience, but this recording does a good job at capturing that experience. Backed by a group of some his favorite Danish musicians and augmented with Gene ‘Mighty Flea’ Conners on trombone (and vocal) and Cornell Dupree on guitar, this album will give you a taste of why those packed evenings in Vognporten were so special.

1. Blue Boat

2. Memphis Blues

3. Soul Country

4. The Flea Is Jumping

5. Blue Turning Grey Over You

6. Taps Miller

7. We Sure Do Need Him Now

8. Tee

9. Kansas City Man Blues

10. Copenhagen Hip Hop

11. Foo Foo Blues

12. Hotel Blækregning

Gene ‘Mighty Flea’ Conners - Trombone

Ole ‘Fessor’ Lindgreen - Trombone

Cornell Dupree - Guitar

Hugo Rasmussen - Double Bass

Thorkild Møller - Drums

Søren Kristiansen - Piano

Steen Vig - Saxophone

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Jim Hall - Jazzpar Quartet + 4 (Remastered 2021) March 19, 2021 Storyville Records

The history of the JAZZPAR AWARDS constitutes, in retrospect, a significant development in the recognition of jazz by international arbiters of taste, and by distributors of monetary recognition.

When the late guitarist and composer Jim Hall emerged triumphant in 1998, it was because his name evoked the most unanimous praise, out of the dozens of artists who had come up for discussion. Already at that point, his career had covered more than 40 years and evoked past associations with people such as Chico Hamilton, Jimmy Giuffre, Sonny Rollins and Art Farmer, plus the fact that they had some of their most interesting and unusual groups when Jim Hall happened to be in them. Some of his other frequent but less regular collaborators, like Paul Desmond, Gerry Mulligan, Bill Evans or Ron Carter, also clearly chose him for the stimulation to be gained from the experience. What these great artists (and many more) found in Hall was a player of great sensitivity and intelligence, to whom the idea of cooperation was second nature but whose approach was completely individual. This duality is not unique within a jazz framework, but the truth is that many jazz players do not manage to be simultaneously identifiable and compatible with others. Personality is obviously the key factor, and Jim’s can perhaps be described as confident but self-effacing. Musically, that translated into a style which was both cogent and laconic – which makes a lot of sense but not a lot of noise – and it’s this combination that lends itself to taking on board others’ ideas and complementing rather than contradicting them. In band terms, it bestows the possibility of being a leader through example, without being either too malleable or too dictatorial.

No wonder, then, that less well-known musicians were more than happy to be associated with Hall, and those who worked with him in Denmark are excellent examples. Chris Potter (born January 1 1971) was then another promising newcomer, who himself won the JAZZPAR prize in 2000 and is now regarded as a leading saxophonist of his generation. The Canadian drummer Terry Clarke (born August 20 1944), then based in New York, had played and toured with Hall since at least 1975, when he made the first of several albums with him. The bassist on the Danish tour was the latest in a long line of local virtuosi, Thomas Ovesen (who shared Jim Hall’s birthday, December 4, Ovesen being born in 1965 and Hall in 1930).

As is usually the case with JAZZPAR tours, there was more than one Danish musician involved but, unusually, at Jim’s request the others were a string quartet, formed of members of the Radio Symphony Orchestra and led by Russian violinist Alexander Zapolski. This combination of talents enabled Hall to pursue aims which were present throughout his career. He had made a notable re-examination of the dialogue between the needs of composition and improvisation in his recent albums, especially with ensembles differing from the conventional trio and quartet line-ups constituting the majority of Jim’s output in earlier decades. Although he recorded duos of guitar-and-piano as early as 1962 (with Bill Evans) and, in 1976, duos of guitar-andvoice (with his wife Jan) and guitar-and-drums (with Terry Clarke), nevertheless in the 1990s he had created carefully chosen chamber groups with, for instance, a couple of string players or a handful of brassmen, often with no drums or with drums but no bass. That kind of freedom is clearly evident here, for instance in the interplay with Clarke during “Stella By Starlight”, and with Potter towards the end of “Chelsea Bridge” (where Potter picks up Jim’s earlier quotation from “Rockin’ In Rhythm”) and in the duet encore on “In A Sentimental Mood”.

The compositional element, and the continuity of Hall’s career, is brought into focus by the two pieces with strings and the fact (somehow emphasized by the omission of one other octet track, for lack of space) that they were written 45 years apart. If these seem more concentrated and more ‘serious’ than the earlier part of the program, that feeling is deliberately undermined by the first encore, Zapolski’s arrangement of “Purple Haze” by Jimi Hendrix, the guitarist who 30 years ago threatened to blow away all the subtleties personified by Hall. Jim may have the same initials as Hendrix but, hearing him use an octave pedal and then de-tune his A-string while sounding all the while exactly like Jim Hall, you can see another example of self-effacing confidence. 

1. Stella By Starlight (Remastered 2021)

2. Chelsea Bridge (Remastered 2021)

3. Mr. Blues (Remastered 2021)

4. Thesis (Remastered 2021)

5. Quartet + 4 (Remastered 2021)

6. Purple Haze (Remastered 2021)

7. In A Sentimental Mood (Remastered 2021)

Jim Hall - Guitar

Chris Potter - Tenorsax

Thomas Ovesen - Bass

Terry Clarke - Drums

+ The Zapolski String Quartet (track 4-6):

Alexander Zapolski - Violin

Jacob Soelberg - Violin

Iben Bramsnæs Teilmann - Viola

Vanja Louro - Cello

Recorded live, Holbæk Jazzklub, April 3, 1998

Falkoner Scenen Copenhagen, April 5, 1998

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Palle Mikkelborg & Bjarne Roupé - Pieces: Generations at Sunrise (2021 Storyville Records)

Pieces is the meeting of two generations - The experienced and mature: the trumpeter Palle Mikkelborg and the guitarist Bjarne Roupé and the two young and ready: Anton Langebæk on bass and the percussionist Benjamin Barfod.

Bjarne Roupé Trio had been with Langebæk and Barfod for a while, and when Palle Mikkelborg was set to play a concert for Jazz Grooves at JB10 in Næstved, it was obvious that the four musicians worked together this evening. It became a success and the musicians took the initiative to use the recordings for this release.

Here it is: Pieces: Generations at Sunrise - five well-chosen compositions with Roupé's overview and broad sounds, Langebæk's pulsating bass, Barfod's distinctive percussion and Mikkelborg's trumpet and flugelhorn on top. We get extremely personal renditions of John Coltrane's ”Naima” and the Abez classic ”Nature Boy”. A Swedish folk melody, ”Saudi”, with a beautiful guitar intro and more of the same sonorous element in the opening track ”Witchi-tai-to”, which is carried on by Barfod's gubal. The fine little theme is presented only at the end. Coltrane's great ballad ”Naima” is performed for the first time in the history of music with sansula. In the collectively composed and arranged ”Pieces”, there are fanfares with electronics underneath, and Langebæk rounds off with a very solid bass solo. ”Nature boy” gets new and very beautiful life with Mikkelborg's horn followed by a very wellplaying Roupé.

1. Witchi-tai-to 10:07

2. Naima 09:30

3. Saudi 06:27

4. Pieces 08:55

5. Nature Boy 07:23

Palle Mikkelborg - trumpet, flügelhorn, effects

Anton Langebæk - double bass

Benjamin Barfod - sound triangles, gubal, sansula, water drum, udo, gong & cymbals

Bjarne Roupé - electric guitar & effects

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Kathrine Windfeld Big Band plays Thomas Agergaard - Black Swan (STORYVILLE RECORDS 2018)

In recent years, some of the most exciting Danish jazz has been emanating from pianist, arranger and composer Kathrine Windfeld’s Big Band. She’s been widely praised by critics, both in Denmark and abroad. However, the 32-year-old Windfeld is also generous when it comes to letting others explore the possibilities of her 5-year-old big band – in this case an extremely experienced figure on the Danish jazz scene, saxophonist and composer Thomas Agergaard, who is 23 years Windfeld’s senior.

Clearly, Agergaard’s music for Kathrine Windfeld’s Big Band has been a creative challenge for all involved. The orchestra is used to Windfeld’s meticulously worked out and prepared compositions that. With Agergaard, however, the music is often delivered spontaneously, and some of the compositions were crafted right in the studio, a whole new way for the band to work.

“Thomas writes quite differently than I do,” says Kathrine Winfeld, “with many different references to contemporary classical music, among other things, and he often goes in for the free-tonal approach, sometimes the symphonic. He works more spontaneously and thrives on the energy of the moment. This is beneficial to the music, but is also a challenge when we are so many together and have to make something work within a limited time frame.”

On this occasion Agergaard utilizes smaller units of the big band while also working brilliantly with the entire ensemble. Part of the repertoire consists of renewed preexisting compositions, such as Different Corner and the vehement Hast, while other compositions such as the ballad, Airborne Lotus, was written just before the recording was made.

Thomas Agergaard displays his high caliber as all-around soloist on alto sax and flute. At the same time, he makes room for other soloists and quirky ideas, such as having the band’s guitarist spontaneously play the mandolin during a number for the first time. All of these are elements that have strengthened Kathrine Windfeld’s Big Band. As she says herself: “It’s been exciting for the band, and not least of all for myself, to have a different kind of repertoire.”

1 Black Swan 6:44

2 Human Be Legends 5:02

3 Different Corner 7:03

4 Hast 5:57

5 Air Born Lotus 4:04

6 Opus 1 Suite, Dream Society 3:48

7 Opus 1 Suite, History Talks 5:10

8 Opus 1 Suite, Fixing Room 2:33

9 Opus 1 Suite, For Nick 3:32

10 Opus 2 Suite, Storm P 6:11

11 Opus 2 Suite, Testing 3:19

12 Opus 2 Suite, Why Why Why 3:26

Christina von Bülow - On the Brink of a Love Song (STORYVILLE RECORDS 2018)

”My heartfelt thanks to Mr Lee Konitz, who has been a constant inspiration throughout my musical career. This album is a reflection of this inspiration - I owe a lot to this legendary alto player and master of improvisation."

The Danish alto saxophonist Christina von Bülow has created a very special trio with two jazz masters in their own right: The Swedish bassist Palle Danielsson and the American drummer Eliot Zigmund. Together, they pick up standards from the great songbooks of jazz and make them their unique own creations; like birds singing, never quite repeating the same sound. The music is very inspired by Lee Konitz with a focus on improvisation, intuition and interplay. Quite a few of the tracks on the album is Christinas take on new themes for old standards.

Thomas Clausen, writer of the liner notes, explains: “The present CD is all about this element of variation. But also about being natural, playing melodically. And it’s an album about interplay! Every bar these musicians play breathe this truth. Some tunes are straight standards. And the presentation of the melody is sometimes straight, as we know it. But it is varied all the time and never feels repetitive.”

What makes the new album special is a feeling of a collective spirit throughout. Christina is the main soloist, but she is always giving herself time to breathe and making pauses in her solos and thus room for the other instruments."

I Should Care 06:38

2 Just Too Very 05:24

3 Still Love You So 05:41

4 Out Lee 06:17

5 Don't Blame Me 6 I Love Paris 04:18

7 I Loves You Porgy 08:33

8 Of a Lovely Song 07:23

9 The Peacocks 06:31

10 Sørgemarch 05:07

Christina von Bülow - saxophone

Palle Danielsson - bass

Eliot Zigmund - drums

Pelle von Bülow - guitar

Hank Jones - In Copenhagen Live at Jazzhus Slukefter 1983 (STORYVILLE RECORDS 2018)

The American pianist Hank Jones could, spanning his 65 year career, always be counted on for a joyful presence on the jazz scene, playing sparkling piano solos that uplifted every group that was wise enough to hire him. This set of previously unreleased music from June 6, 1983 puts the spotlight of one of the most consistent geniuses in jazz history.

In the 1970s and 1980s, Jazzhus Slukefter in Tivoli Gardens, Copenhagen, was the site for a large number of live recordings release by Storyville. Hank Jones brought Danish bassist Mads Vinding with him, a bassist with a large sound, the ability to take very original solos, and a love for straight ahead jazz. The third name on the stage was drummer Shelly Mane, whose career was as prolific as Jones’, and who added color and life to every group. This 1983 concert consists of nine jazz standards. Jones takes the lion’s share of the solo spots, changing his style between that of a classical bebop pianist and other times swinging elegantly like Teddy Wilson. The masterful trio comes up with creative variations and give all the songs on the release rewardingly fresh treatments.

Hank Jones (1918-2010) was born in Mississippi and was an early inspiration for his two younger brothers, both of whom would become all-time greats: cornetist Thad Jones and drummer Elvin Jones. He immediately became part of the jazz major leagues once he relocated to New York where he embraced the bebop of Bud Powell without abandoning his roots in swing. Tasteful and lightly swinging, Hank Jones would always be thought of as a class act. His non-stop activity with countless bands, orchestras and musicians only ended when ageless Hank Jones passed away in 2010. Musically, he never declined.

The result of the 1983 Slukefter session is an enjoyable hour of music that, after sitting unheard for over 30 years, sounds as fresh as if it were recorded yesterday.

1 Just Friends (Live) 6:58

2 Au Privave (Live) 7:40

3 Alone Together (Live) 9:47

4 Stablemates (Live) 4:43

5 It Could Happen to You (Live) 6:12

6 Scrapple from the Apple (Live) 4:59

7 Budo (Live) 7:01

8 Tangerine (Live) 6:08

9 What's New (Live) 8:24

Hank Jones piano

Mads Vinding bass

Shelly Manne drums

Trio 65 1/2: 66 67 (STORYVILLE RECORDS 2017)

Trio 65 ½ was the trio that won all the jazz-competitions in the mid 60’s and were “talk of the town”. The three incredibly talented musicians listened to their idol, the pianist Bill Evans’ LP Trio 64 and halfway through 1965 Ole Streenberg came up with the name: Trio 65 ½. Ib Lund Nielsen wrote notable songs such as Bit og Juleballade, which still is remembered by the attending guests at one of the first “Jazz I Reprisen”-events in Holte in 1967.

They are all to be found on this new release and as Kenneth Knudsen says: “It hits me, how tight it was. Jens Jorn Gjeldsted Ole Streenberg and I were young, around 20 years old. And unexperienced. Ib Lund Nielsen was a bit older and with some experience from other groups. When we, quite randomly, met each other, it did not take long for us to realize that we shared a mutual pulse, a comfort – a faith, that the music stood by itself. It was new and weirdly wordless. We didn’t even know how special it was, because we were completely focused on creative development. And the problems and challenges that come with it.

I myself was equally drawn towards fixing and tearing apart. But looking back, with so much experienced, so much played and heard, it’s clear to me, that this collaboration was the ‘approach to the music´. This feeling of approach that I think everyone experiences at some point – I hope."

01. Bit

02. Ras Bros

03. Stella By Starlight

04. There Will Never Be Another You

05. Juleballade

06. Tja

07. Bass Blues

08. Why Not? That's What!

09. Naima

10. Bessie's Blues

11. Santa Claus Is Coming To Town

12. Some Day My Prince Will Come

Kenneth Knudsen: keyboards

Ib Lund Nielsen: bass

Ole Streenberg: drums

Recorded in 1966 and 1967