Fasching Jazz Club hosted the annual Svensk Jazz Final, a competition for aspiring jazz musicians under 20 years of age. Though style ranged from jazz to funk to rock, it was impressive to hear originality, mature improvising and great composing from many of the young groups. And of course awesome to see the camaraderie and support throughout. Awards for best soloist, composer and jazz group are handed out at the end. The energy in the room was nostalgic of the apprehension and excitement at the Essentially Ellington Festival at Jazz at Lincoln Center. Before thee awards, the winning group from the past year performed. Recordings posted below. The bass clarinet has really grown on me since arriving in Sweden…
The Svensk Jazz Final brought clarity to a side of jazz unique to Sweden: education is conceived of differently than it is in the States. In Sweden, young players are pushed to find their own original sound and style more so than to master the jazz tradition and build up chops. The result is heard above: a very young jazz group that has just entered college who play their own music with their own adventurous sound. In comparison, young jazz players in the U.S. have monster chops and can destroy comprehensive bebop changes while using advanced substitutions and theory. Obviously, there are exceptions on both sides, but it presents an interesting question: Which educational approach is better? More emphasis on originality, or tradition? I know what Wynton Marsalis would say (haha). I’ll only say this: coming from jazz programs geared towards tradition and chops in the U.S., I was excited to hear young players doing their own thing rather than play “All The Things You Are” or Blues-in-Whichever-Key.
The illuminated “T” is my North Star in Stockholm.
