FLASH MUSIC   proudly presents K R I S T E R A N D E R S S O N A B O U T T I M E Flash Music FLCD 1 Marcus' Blues LISTEN It's difficult to imagine a listener who would be unmoved by this music. Clearly, these musicians are offering us an invation to join them on their endless flights of fantasy -- excursions which are propelled by an intensely expressive swing that breathes and pulsates. This is living music that carries the listener through shifting moods -- from explosive urgency to relaxed contemplation. It is full of courage, uninterested in imitating others, constantly creating its own flight path. Deriving inspiration from the sounds of pioneers like Sonny Rollins and John Coltrane, this music is emphatically modern without being experimental or avante-garde. Harmonically and rhythmically, the structure of the tunes i always well-defined and the players are obviously devoted to professional craftmanship. It is these qualities which enable them to keep their feet on solid ground - no matter how high they fly! Krister Andersson is one of Sweden's foremost tenor saxophonists. He has participated on numerous recordings and in 1987 he was awarded Orkester Journalen's "Gyllene Skivan" (Gold Record) for the preceding year's best jazz-record, "Krister Andersson and Friends." I asked Krister if he would like to comment upon the qualities he feels are essential to music-making. He answered in this way: "I think that music should arouse curiosity. It shouldn't leave the listener indifferent. I want to create an atmosphere - say something with my instrument. I don't want it to sound too constructed or frustrated... and neither should it be a stage for one's vanity. Sure, technique must be present, knowledge of one's instrument - but if the music lacks those qualities I first mentioned, it falls flat on its face." The first tune recorded was "How High The Moon" with bassist Torbjörn Hultcrantz and drummer Leif Wennerstr öm, one of the most driving rhythm sections ever heard on the Swedish jazz scene, and perhaps best-known for their work with saxophonist Bernt Rosengren. Krister plays a dozen or so choruses, each one evolving from the one preceding, moving between explosive drama and tranquillity. Torbjörn's solo is a study in sharp-chiseled bass lines followed by Krister and Leif trading eight bars each in a lightning-sharp dialogue before the final restatement of the theme. The bass player for the other trio and quartet sessions is young Markus Wikstr öm who also wrote the memorable "Markus' Blues". With its unconventional chord progressions within the traditional twelve-bar blues format, this theme gives fresh nourishment to the genuine blues spirit that permeates the performance. Here we also meet pianist Ion Basciu, who left his native Rumania in 1987 to settle in Sweden. Ion and Krister offer several intense solo choruses before Leif and Markus begin their duel, where every thrust is a long chorus. Ion is not present on "It Could Happen To You", but instead Malando Gassama is featured on bongos, congas and talking drum. Born in Gambia, he has since the beginning of the seventies lived and played in the U.S.A. and all over Europe, including Sweden where he now resides. He has worked with an impressive array of artists ranging from the pop vocal group ABBA, to trombonist Eje Thelin, bassist Jaco Pastorious and singer Al Jarrau. By pure "coincidence" Malando happened to drop by the studio while the session was in progress and was invited to sit in. His contribution lends a special flavor and character to "It Could Happen To You". Krister's solo is followed by a fantastic duo section with Leif and Malando. On Krister's medium-tempo ballad "Sightseeing", Jan Robertson, the youngest player, replaces Leif. Otherwise, the quartet is the same as on "Markus Blues". Jan plays many different kinds of music, and is often heard together with Ion. Here he reveals the inventive jazz musician, flavoring the music with his own brand of spice. The tune's title was not a random choice: its harmonic structure and eight plus twelve-bar period gives the melody the feeling of never ending. Krister hears it like a musical sightseeing tour, where he and Ion, the soloists, are the guides. The uniquely personal ballad "About Time" provides further testimony to Krister's gift for composition. This tune has an unusual structure with eight plus four plus eight bars - but what really gives it its special character is the intervals between the chord changes. Here again the group returns to the trio format - Krister, Markus and Leif - but in order to underline the tune's harmonic color Krister has over-dubbed a clarinet part. The soloists are Markus and the composer himself. Finally comes "All Of A Sudden", a completely free improvisation by Krister and Leif that explodes like lightning and thunder and almost defies description. They sat for hours discussing what might be suitable to play as a duo. Suddenly, without a warning, the music began to flow - feeding on its own energy - and it was as if a violent hurricane had blown up. Then without either of the knowing what was about to happen, it seemed to abate towards the end, only to regain its intensity once more. It's easy to hear these six pieces as a suite - organically bound together by their uncompromising honesty and eloquence. Variation and consistency are found not only in every selection, but in the totality of the work. No matter how you hear it, this music continually urges us to embark upon new adventures - to listen again with new ears. Stockholm - June, 1993 Albrekt von Konow translated by Stanley Koonin and Eric Bibb Gilbert Matthews Quartet - Hothouse / Per Henrik Wallin Trio - Blues for Allan / Bosse Wärmell - The Golden View / Börje Fredriksson - Progressive Movements / Don Cherry - Brotherhood Suite / Krister Andersson - About Time and Concord and Time FLASHBACK Supported by the Swedish National Council of Cultural Affairs Flash Music Katarinav. 20, 116 45 Stockholm S W E D E N tel: 046 8 641 26 03 fax: 046 8 644 12 19 e-mail: flashmusic@hotmail.com