Fredrik Nordstrom - Live 2002

The word standard, for many years has been used to describe songs and compositions that have survived the ravages of time. They were often first introduced in films and Broadway shows. There are literally hundreds of standards and jazz standards, some more enduring than others and they offer a haven of harmonic and melodic refuge to every jazz musician or singer who chooses to interpret them in accordance with their particular artistic leanings. A prime example was the Miles Davis Sextet's original studio recording of On Green Dolphin Street which more or less overnight became a staple of almost every modern jam session - and is still high on the list today! The wide range of emotions that the great standards offer can equally illuminate the good qualities of improvisers as well as reveal weaknesses in players of lesser abilities. The recordings of standards by such giants as Lester Young, Charlie Parker, Stan Getz, Miles Davis, John Coltrane, Sonny Rollins and Bill Evans, despite their diversity, all have one thing in common. When the music arrived through their respective instruments the standard composition had been completely stripped down to its fundamental elements and reconstructed in a completely personal interpretation which contributed to extending its life perhaps for several future generations. Over the years, despite countless performances, Miles Davis never played the theme of On Green Dolphin Street, exactly the same way, each recording from clubs and concerts proving his genial approach to melodic variation.
When saxophonist Fredrik Nordström invited bassist Palle Danielsson and drummer Fredrik Rundqvist to record an evening at the Glenn Miller Cafe in downtown Stockholm one of the first topics of conversation must have been choosing what to play. Reference points between the three musicians steered the repertoire in the direction of eight standards. What Is This Thing Called Love by Cole Porter and Body And Soul by Johnny Green are without question mega-standards. Two others, Out Of Nowhere (another Johnny Green favourite) and Spring Is Here(Rodgers & Hart) are almost up in that high-profile category, Some Day My Prince Will Come (Morey, Churchill) from the Disney film Snow White and the Seven Dwarfs, the most unlikely of sources, also increased in popularity, particularly among musicians, after both Miles Davis and Bill Evans recorded it in 1961. The three remaining selections are what one could term jazz standards, having been composed by jazz musicians: Dave Brubeck's In Your Own Sweet Way, Bill Evans' Very Early and Keith Jarrett's My Song(from an album which also featured Palle). All one way or another are regarded by most musicians as standards. But the most interesting part is the way the three particular musicians on this CD make their personal approach to the material.
A trio working without a chordal instrument such as piano or guitar, while providing a larger degree of freedom, demands of its players an advanced degree of melodic and harmonic awareness and a special sense of rhythmic interplay. The contours of standard material can soon become rather diffuse without these qualities. In the case of Nordström, Danielsson and Rundqvist all the individual facets of each composition are not only firmly evident but imaginatively developed and illuminated.
The man with the most experience here is bassist Palle Danielsson who few would deny is Sweden's most internationally recognized profile on his instrument. Leader in his own right and with a background of engagements with some of the world's finest jazz musicians including a gig in Sweden while still a teenager with Bill Evans, he has later worked with, among others, Keith Jarrett, Charles Lloyd, Michel Petrucciani, John Taylor and Peter Erskine. He positively breathes life and inspiration into the proceedings, his lines singing in every register and underpinning the rhythm in a never-wavering propulsion. Beside him is a young drummer who is recognised as one of the true Swedish talents of his generation. Fredrik Rundqvist has won much attention and at least one important award for his immensely creative drumming which combines all the qualities needed in a group as small as this but equally at home providing the sparks to Fredrik Nordström's Octet (check out Urgency DRCD 341). As for Fredrik Nordström, more and more people are becoming aware of what this young saxophonist/composer is creating in the way of strong musical statements. Among modern Swedish saxophone players he stands out particularly for his way of organizing sound, expression and form in the act of improvisation. He has found his own musical voice encompassing the very essence of jazz that one normally associates with the most mature masters of the art. A free spirit.
Undoubtedly the future will be full of surprises with the occasional song or tune establishing itself as a new standard to be enjoyed by the generations ahead. In the meantime let us be uplifted by the spirit of rejoicing which these three consummate musicians convey and, like the wildly enthusiastic audience at the Glenn Miller Cafe that evening, react with a spontaneous cheer not only for the performances but for the wonderful composers who gave us these gems.
(Dave Castle, February 2002, liner notes)

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Fredrik Nordström in dazzling form on a collection of standards with trio.
Downbeat (USA)

Trio jazz of world class. Fredrik Nordströms trio sounds fantastically good in this live recording. The collaboration and sensitive awareness between the musicians is truly a joy to hear.
Orkester Journalen (SWE)

A dazzling affirmation of Nordströms calibre, he has the whisper of a master about him already. This is an imposing album.
Jazz Review (UK)

A splendid album!
Folket (SWE)

the result could hardly have been any better. The tenor performace is very good, just a few of todays sax players can be close to that.
Jazz Stage (SWE)

A very fine album containing trio jazz of the most excellent quality.
Smålänningen (SWE)

Nordström is an exceptional young saxophonist with a lot to say. On this night he says it gently with class.
Cadence (USA)

A new way of standard interpretations and this performance has a lot of freedom, improvisation and intensity.
Cuadernos de Jazz (ESP)

A musical intensity that can give you goose flesh.
Dagens Industri (SWE)

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Fredrik Nordström - Live 2002
(Dragon Records)

1. What is this thing called love
2. In your own sweet way
3. Spring is here
4. Very early
5. My song
6. Out of nowhere
7. Body and soul
8. Someday my prince will come


Fredrik Nordström - tenor sax
Palle Danielsson - bass
Fredrik Rundqvist