FLASH MUSIC   proudly presents THE KRISTER ANDERSSON QUARTET CONCORD and TIME Flash Music flcd 2 I have a feeling this music is headed straight for your heart - like a river of molten lava. At the same time it captivates, it will carry you soaring into speace on waves of freedom... Krister Andersson (born 1951) has a long-standing reputation as one of the most courageous and uncompromising musicians on the Swedish jazz scene. Marcus Wickström b, Bengt Stark dr, Göran Sandberg p, Krister Andersson ts cl Coming from a background of classical training as a clarinetist, he has developed, with some of Sweden's finest jazz groups, into one of the country's great tenor saxophone players. His two previous records as a leader - "Krister Andersson and Friends" (Dragon DRLP 113), and "About Time" (Flash FLCD 1) received jazz magazine Orkester Journalen's Golden Record award in 1987 and 1994. On three compositions from this CD Krister distinguishes himself as one of the rare modern clarinet players of our time. Krister's artistic creativity and powerful ability is counterbalanced by a harsh self-criticism. The bringing forth of true art indeed has its price; Krister's music assures us that it's worth the birthing pains. Once, when the legendary clarinetist Pee Wee Russell was asked why he played, he replied: "It hurts". When asked why he didn't quit, he answered: "Then it would hurt more". Krister is, without a doubt, a master of improvisation - and every moment that he captures in flight has a long history of struggle, soulsearching and inner compulsion behind it. Krister is the ultimate profesional, but he's set his sights even higher. What he seeks is total liberation from musical posturing and patent solutions. "I know what I'm capable of doing, but I also have an acute awareness of what I'm incapable of doing, musically, and it disturbs me", says Krister. This may be part of the reason it's become more and more essential for him to play with sensitive musicians - players who communicate and give everything. Precisely the kind of players gathered for these sessions. Pianist Gˆran Strandberg and drummer Bengt Stark both compose as well as teach. True disciples, like Krister and others of their generation, they grew up in a time that did little to encourage the rebirth of jazz. Bassists Markus Wikstrˆm and Per-Ola Gadd, while both under 30, have already been able to nurture today's jazz and provide new winds beneath its wings. This is modernistic jazz. Not so extreme, however, that it discards all that has gone before. It is unmistakeably tied to a tradition first pioneered by John Coltrane around 1960. Despite the sometimes odd structures, the compositions have resolute forms and substance. While many of today's jazz musicians choose hard bop for the basis of their excursions, Krister and company forge new paths, bravely confronting fresh labyrinths and pitfalls in their quest for what lies beyond. Six of the compositions are penned by the group's members. Krister wrote "Configuration", inspired by echoes of Charlie Parker's "Confirmation". It's an uptempo tune where Krister, in a long solo sequence, firmly establishes a place for the clarinet on the modern jazz map. After G öran's intense piano solo Krister and Bengt are left alone in an imaginative dialog before closing with the theme. Then comes a shift in mood with Bengt's "Sadness" - a nine-bar theme with sparse meditative solos from Krister, G öran and Markus. "Invitaion" - an American film melody - brings us another mood, spiced with latin rhythms and a bolder expression in solos by Krister, G öran, and Bengt. "Markus Scetch" is the bass player's own composition, based on Tadd Dameron's "Hot House", which in turn is the standard "What Is This Thing Called Love" in bebop clothes. Here, once again, Krister plays clarinet and states the theme in unison with Markus electric bass. It is only on this tune that we meet contrabassist Per-Ola Gadd, who gives backbone to the accompaniment as well as plays an arco solo. After Krister's and G öran's loaded statements Markus has a remarkable solo on electric bass, before he and Krister replay the theme. Less conventional structures make up Krister's "Magpie's Nest". This is another uptempo theme over 6 + 5 + 8 bars, changing into a 10 + 6 + 8 sequence under solos by Krister and Markus. On paper this form seems perhaps pretentious, but upon listening, it comes across naturally. "I Didn't Know What Time It Was" is the record's one evergreen. To avoid well-worn cliches each measure has been doubled. After Krister and G öran have had their say, Markus steps forth, joined eventually by Bengt, concluding with a finely woven duet for bass and drums. The remaining two pieces "Ferryland" and "Forever Now, Whenever" were penned by G öran. The first has the feeling of a requiem with its slow 10-bar theme. The second is a fast solo flight in a blues form. "Ferryland" is further developed with fine-tuned solos by G öran, Krister - once more on clarinet - and Markus, while "Forever Now, Whenever" is centered around G öran's and Krister's playing. Not long into Krister's solo we hear the piano and bass taper off, leaving Bengt's solid support to carry on. Finally, after listening through this set and gradually returning from dazzling space, one wonders if somehow everything is slightly changed in some way... Stockholm, August 1995 Albrecht von Konow 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