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Patrik Henriksson
Member Since: 2026 | Location: Gothenburg | Page Views: 57 
About Me
I am a Swedish composer and pianist who creates instrumental music at the intersection of jazz, classical music and fusion.
I am a Swedish composer and pianist who creates instrumental music at the intersection of jazz, classical music and fusion. I am a Swedish composer and pianist whose original instrumental music moves freely between jazz, classical traditions and fusion. My compositions reflect a lifelong fascination with melody, harmony and musical expression, drawing inspiration from different genres without being confined to any particular one. I was born and raised in Kiruna, a mining town in the far north of Sweden, surrounded by long winters, vast landscapes and a sense of geographical isolation. Music eventually became an important part of my life, opening up a world far beyond the small northern town where I grew up. My musical journey began in my mid-teens when I heard Swedish classical guitarist Göran Söllscher performing music by Johann Sebastian Bach. The experience left a profound impression on me and inspired me to take up the classical guitar. I later studied at a music programme in Kalix, where my interest in music continued to develop. At around the age of eighteen, however, my musical ambitions were interrupted by an unexpected physical problem. The ring finger of my left hand suddenly stopped responding as it should, making it almost impossible to play the guitar. At the time, I had no explanation for what was happening. Only decades later did I discover information suggesting that the problem might have been related to focal dystonia, a neurological condition that can affect musicians. Unable to continue playing the guitar as I had intended, I turned to the piano. What began as a necessary change gradually opened new possibilities, particularly in my exploration of harmony, musical structure and composition. Throughout my musical development, I have drawn inspiration from a remarkably broad range of composers and musicians. Bach, Mozart, but also Bartók and more have been important classical influences, while the music of Chick Corea, Jan Johansson and Bill Evans has contributed to my understanding of jazz harmony and melodic expression. The innovative work of Weather Report, particularly the contributions of Joe Zawinul, Wayne Shorter and Jaco Pastorius, has also been a significant source of inspiration. Among these influences, Swedish pianist and composer Esbjörn Svensson holds a particularly special place in my heart. I was deeply moved not only by his music but also by the warmth and humanity I perceived in him as a person. My composition “Thanks, Esbjörn” is a personal expression of gratitude — a simple thank you for the emotions and musical experiences his work brought into my life. Rather than attempting to follow any particular musical tradition, I have always wanted to develop my own approach to composition. My music often combines carefully shaped melodies and harmonic structures with elements of jazz improvisation and rhythmic complexity. The relationship between classical composition and the freedom of jazz has remained a recurring source of creative inspiration. In my early twenties, I came close to releasing an album of my own compositions. Although the project never reached completion, several recordings from that period have survived. By the end of my twenties, however, music had gradually moved into the background, and my ambitions as a composer were put aside. For many years, my musical activities remained limited. Yet the desire to compose never entirely disappeared. Decades after the difficulties that had forced me to abandon the classical guitar, I also began exploring ways of retraining the affected movements, gaining a new understanding of the physical problem that had changed the direction of my musical life. In January 2025, I returned to the recording world with “*Göteborg–Gothenburg: One Way Ticket”, an album of original instrumental compositions reflecting my wide-ranging musical interests. I had the pleasure of working with three accomplished musicians on the album: drummer Morgan Ågren, known for his work with Frank Zappa; bassist Stefan Pettersson, whose professional credits include Taylor Swift; and saxophonist Mikael Karlsson, associated with the Bohus Big Band. Their contributions brought additional dimensions to my compositions, allowing the music to move between intricate rhythmic passages, lyrical melodies, rich harmonic textures and the spontaneous interaction characteristic of jazz. The album includes compositions such as “August”, “Thanks, Esbjörn”, “Splashing Water” and “French Baguette”, each offering a different perspective on my musical language. Although the music draws on elements of jazz, classical music and fusion, my underlying approach is often closer to that of a composer exploring form, harmony and expression than to any single established genre. For me, “Göteborg–Gothenburg: One Way Ticket” represents more than a return to recording. It marks the continuation of a musical journey that began in northern Sweden many decades earlier — a journey shaped by curiosity, unexpected obstacles, changing circumstances and an enduring desire to create music. At the heart of my work is a simple conviction: music should be free to cross boundaries, drawing on whatever traditions and ideas best serve the composition itself.
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As a relatively new member, I have not yet had any experience to speak of when it comes to the relationship between good and not so good. :-) So at the moment, I can only say that All about jazz is a fantastic platform that is really useful for anyone who is at all interested in and jazz - and music overall.This page was last updated on 2026-10-16.
