Expressing his innermost thoughts through a brass choir for six selections and working a cappella for the other eleven, bassist Anders Jormin interprets classical music and introspective originals with flair on Xieyi. The album's title is a Chinese term that implies freedom of expression. Jormin takes this opportunity to express from the heart what he feels and carries with him. They're songs from folklore, songs from known composers, and songs from Jormin's expressive pen.
As he interprets traditional hymns alone with the bowed bass, Jormin brings a lyrical quality to his work that remains both sensual and universal. When applying pizzicato techniques to explore, he grabs each opportunity gracefully and handles each with delicate care. Jormin prefers a rubato setting where he has the freedom to express delicate ideas clearly without concern for meter. His bass resonates with a vocal-like spirit that issues warmly with subtle passion.
Each solo bass piece moves deliberately with heartfelt expression. Jormin climbs and cascades with fluid motion. The folkloric nature of his compositions cannot be overlooked. Much of his work is filled with graceful themes that sing like a lullaby or a hymn. Even free pieces, such as Ornette Coleman's "War Orphans," send the bassist on a journey that allows him to explore the music of his homeland and the folk music that surrounds all of us. The result is a lovely solo performance that communicates in the universal language with lovely lyrical refrains assembled naturally.
Track Listing: Choral; Giv Mig ej Glans; I Denna Ijuva Sommartid; Gracias a la Vida; Idas Sommervisa;
Xieyi; Decimas; Och Kanske
Personnel: Anders Jormin: double-bass; brass quartet (1,6,9,12,15,17): Robin Rydqvist: trumpet,
flugelhorn; Krister Petersson: French horn; Lars-G
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.