.:: Björn Samuelsson Jazz Formation - A letter to Åke Persson...

IMOGENA RECORDS

Recorded & mastered by Lars Nilsson at Nilento Studio, Göteborg, Sweden in April 2005

Mixed by Lars Nilsson & Björn Samuelsson at Nilento Studio, Göteborg, Sweden in May 2005

This record is sponsored by the Swedish National Council for Cultural Affairs, Kvalitetsutveckling AB & Gunvor Göranssons Kulturstiftelse

 

Björn Samuelsson [b. 1976] stretches out on his first solo album and pays tribute to one of the greatest trombone players of all time, Åke Persson. 

The album kicks off with my version of the Åke Persson tune Blue in ¾, which Åke performed and recorded with the Louis van Dyke Trio back in 1974. I wanted to do something different with the Cole Porter standard What is this thing called love, so I wrote an arrangement that is inspired by the late J.J. Johnson, and the way that he always put a personal touch on the standard tunes he played. J.J. is another of my heroes and his imprint will always exist in my music. [Thanks J.J. for your contribution to jazz music]

After that the band flies through View, a tune that I wrote when I visited a beautiful viewpoint while spending some creative years studying in Stockholm.

A license to chill… is a reflection of my way of living – I try to chill out in these fast-paced times, and it also shows my love for beat grooves. Hird [Christoffer Berg] made a remix of the same tune and he gave it a totally different shape compared to the original version. [Thanks Chris]

The ballad called Statement is just that, a statement from me about where I stand today as a player and composer. Following Statement, I express my feelings about spending quality time alone and clearing my mind, in Alone at last.

On the Gösta Theselius compositions Nassie goreng and Mountain music I overdubbed all the trombone parts and solos. Check out the trombone shout chorus in Mountain Music, the lead part features Åke Persson’s solo from the original 1957 recording, which I have arranged for 4 trombones.

The second Åke composition on the album, Monotones, is a straight ahead blues with a fun melody that I did a different arrangement of compared to the ones Åke played. Most of Åke’s work was in the blues bag and when he took a solo it was almost certain to be on a blues, which I guess he felt was his home ground.

On A done deal, I wanted to bring the electronic drum n’ bass style into the acoustic environment of the jazz quartet. Göran plays the drum beat over a sample we did using a sound I made with my mouth… With help and ideas from Lars Nilsson the tune developed the shape and feeling I had in mind when I wrote it.

The composition Aake is of course homage to Åke Persson, and my thoughts also go to my dear friend Markus Sandlund who was a victim of the Tsunami disaster. [I miss you Markus]

I want to give a special thanks to the guys involved in this recording: Tommy, Mattias, Göran and Lars. To Rolf for the photos, Gunnar for the cover art and Johan at Imogena Records. Everybody really put their heart and soul into this project and they really show that they are masters of their respective crafts. I also want to thank all my friends, teachers, colleagues and family for their support, and finally thanks to you for checking out my album.

/ Björn Samuelsson
 

Åke "Kometen" Persson

It’s good timing to pay tribute to the trombone player Åke Persson (1932–1975). This year he was awarded the Django d' Or Legend Of Jazz which was expected since it was 30 years ago he passed away.

Åke was a strong personality who left Hässleholm in the south of Sweden to take the Stockholm jazz scene by surprise in 1951. Bass player Simon Brehms quintet was the first group and in no time Åke went from promising and forward trombonist to a world class jazz soloist. He got the nickname “the Comet” which was a perfect name.

Sax player Arne Domnérus orchestra was next stop for Åke and then tenorist Hacke Björksten. With him he made a recording of "On The Alamo" which is a real diamond in the Swedish jazz history.

Åke played lead trombone in the Harry Arnold radio big band and his way of phrasing became standard, the ultimate lead playing with rhythmic jazz nerve, and rock solid timing in an American way. When Quincy Jones heard Åke he asked him to join his all-star European big band.

After that Åke moved to Germany where he played with the RIAS big band in Berlin 1961–1975. At the same time he made his most important work during his career, with the Kenny Clarke – Francy Bolands Big Band which was one of the greatest big bands of all times. Åkes eminent playing fitted in perfectly which can be heard on a number of records. Also when Count Basie and Duke Ellington toured Europe they brought Åke along – of course, he was breathing jazz.

Åke returned to Stockholm in 1975 but sadly never documented his unique playing. On a February day a black cloud swept over the jazz heaven, Åke had been found in his car on the bottom of the Djurgården canal.

A musician’s heart had stopped beating. We, by the time aging fans, will never forget the Comet from Hässleholm. The fact that Björn pays his tribute to Åke makes me feel very warm – the legacy of Åke has passed on.

/ Göran Olson
 

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