Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

1,441

Anders Jormin: Touching the Heart and Spirit

John Kelman By

Sign in to view read count
Swedish bassist, compser, bandleader and educator Anders Jormin may be best known to North American audiences as a member of Charles Lloyd's and Tomasz Stanko's mid-'90s ECM label quartets along with pianist Bobo Stenson. He's also been a longstanding participant in Stenson's own trio, with three sublime recordings released on ECM since '96 including the subtle yet substantive double-disk set, Serenity. But the truth of the matter is that Jormin has been forging his own career since the mid-'80s, first with a series of recordings for the always-quality but not always easy-to-obtain Swedish Dragon label, and more recently with two ECM recordings including the just-released song cycle In winds, in light , that brings a new meaning to the term "sacred music." Jormin's projects may be stylistically difficult to pigeonhole, but throughout his career a constant has been his commitment to finding new ways to make the music and his instrument sing. And it is just that diverse aesthetic that makes every new release from Jormin both a surprise and a confirmation.

Early Days

"I do come from a musical family in the sense that my father was a professional jazz musician before I was born," says Jormin, "although by the time I was born he had quit the professional musician life to get a more ordinary job in order to support the family. So I learned the basic rules of standard jazz language in early childhood, and so did my brother Christian, who is five years younger than me. We played a lot of jazz music at home when I was young, so I had a good foundation. Then I did more traditional training at music school, classical music first on piano and later on the double-bass; I finally ended up studying at the conservatory and then moving to Gotenberg, where I studied music at the university level for a number of years."

But while Jormin was deeply involved with the classical tradition, his own aesthetic was already being formed through exposure not only to jazz, but to the Swedish folk tradition. And at an early age Jormin was already looking at ways to combine these three diverse influences into a more personal approach. "I don't think it was a very conscious goal in the beginning," Jormin explains, "but it has been very natural for me. As a Scandinavian musician studying music, I studied classical music and I studied jazz music, which I already knew a lot about from my upbringing with my father. But we also have a folk music tradition that is more and more alive in Sweden. It was, of course, very strong a hundred years ago, fifty years ago, but then almost completely disappeared, and now it's coming back. There were good players who inspired me as a young musician, for example a well-known musician in Sweden named Jon Johansson, who really dug deep into the folk music tradition while still being definitely a jazz player So that and classical music always interested me. I always had those three things going on in my head and played them in different ways at different times. I take all my inspirations and influences into some kind of melting pot which is inside my heart, and what comes out is, I hope, my personality."

When asked who he would cite as influences from a jazz perspective, Jormin names few artists. "As a very young player I listened a lot to Miles and Coltrane," Jormin says, "and, of course, I'm not the only one. But I still say to students when they ask a question like this, 'John Coltrane is my house god,' for the energy and strength and power in his music. As a young musician/bassist I was quite fascinated by both Charlie Haden and Gary Peacock—the early Gary Peacock, the Albert Ayler free music playing Gary Peacock, although they were quite different as musicians. Of the two I must say that Charlie Haden was a bigger influence for me in the beginning. Not for the way he played his bass, as I realize that they way I play bass has very little to do with him, but for the strength and power in the music he created. I was also very lucky to play with Joe Henderson quite early on in my career, and that was a big inspiration, and I still find him as an underestimated genius on tenor saxophone."

Emerging on the Swedish Scene

Tags

comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

Extended Analysis
CD/LP/Track Review
Read more articles
Ad Lucem

Ad Lucem

ECM Records
2012

buy
Aviaja

Aviaja

Footprint Records
2006

buy
 

Aviaja

Dragon Records
2005

buy
Xieyi

Xieyi

ECM Records
2005

buy

Related Articles

Read Conor Murray & Micheal Murray: Putting Falcarragh On The Jazz Map Interviews
Conor Murray & Micheal Murray: Putting Falcarragh On...
by Ian Patterson
Published: November 29, 2018
Read Pete McCann: Mild-Mannered Superhero Guitarist Interviews
Pete McCann: Mild-Mannered Superhero Guitarist
by Mark Corroto
Published: November 28, 2018
Read Kris Funn: Bass Player, Story Teller Interviews
Kris Funn: Bass Player, Story Teller
by R.J. DeLuke
Published: November 27, 2018
Read Phillip Johnston: Back From Down Under Interviews
Phillip Johnston: Back From Down Under
by Ken Dryden
Published: November 27, 2018
Read Anwar Robinson: From American Idol To United Palace Interviews
Anwar Robinson: From American Idol To United Palace
by Suzanne Lorge
Published: November 25, 2018
Read Rain Sultanov: Putting Baku On The Jazz Map Interviews
Rain Sultanov: Putting Baku On The Jazz Map
by Ian Patterson
Published: November 20, 2018
Read "Kika Sprangers: Musical Adventurer In Holland" Interviews Kika Sprangers: Musical Adventurer In Holland
by R.J. DeLuke
Published: August 14, 2018
Read "Randy Weston: The Spirit of Our Ancestors" Interviews Randy Weston: The Spirit of Our Ancestors
by Ludovico Granvassu
Published: September 7, 2018
Read "Mark Morganelli: Adds Club Owner To His Resume" Interviews Mark Morganelli: Adds Club Owner To His Resume
by R.J. DeLuke
Published: February 12, 2018
Read "Jay Thomas: We Always Knew" Interviews Jay Thomas: We Always Knew
by Paul Rauch
Published: November 16, 2018
Read "Phillip Johnston: Back From Down Under" Interviews Phillip Johnston: Back From Down Under
by Ken Dryden
Published: November 27, 2018