All sorts of jazz, free jazz and improv. Never for money, always for love.
Step through the front door of the Glenn Miller Café, tucked away
in a quiet Stockholm side street, turn sharp right and you'll probably knock
the upright piano over. The bandstand - that's a misnomer: it's a corner
- is barely ten feet square, and the club itself isn't much bigger, and
invariably packed to capacity.
Food is served from 5pm onwards (the Swedes are even worse than the British
when it comes to dining early) and you'd be well advised to reserve in advance.
The place and its atmosphere are warm and friendly, and the food delicious:
the chef's French, or at least the one they had a year ago was.
The sign "Skivinspelning" outside tells you tonight's concert,
which will probably consist of three 45 minute sets, is going to be recorded,
and the chances are the sandy-haired gent at the bar nursing a bottle of
best Belgian beer with a contented smile on his face is Ayler Records' Jan
Ström. After all, nearly a quarter of all the albums he's released
so far were recorded here, and this is the latest.
SURD is a quartet consisting of guitarist David Stackenäs, alto / tenor
man Fredrik Nordström, bassist Filip Augustson and drummer Thomas Strønen,
and the music on offer here was recorded on June 14th and 15th 2004.
In homage to Steve Lacy, whose death had been announced a few days earlier,
proceedings open with "38", from the late great saxophonist's
old Emanem treasure The Crust. It's a great start to the album, with Augustson
and Strønen chopping merrily away at Lacy's trademark relentless
major and minor seconds.
Stackenäs's guitar is taut and springy, with a rough Sharrock bottleneck
lyricism well suited to the Last Exit-ish unison of his "Hello Paul".
The rhythm section is inventive and rubbery on the uptempo numbers, but
sounds rather flabby on "Head P", Nordström's homage to Bristol
trip-hoppers Portishead, whose music's intensity derives as much from the
claustrophobic looped samples of dirty vinyl as from its melancholy minor
harmony (something that, with the best will in the world, can't be pulled
off by a live rhythm section: Strønen's just aching to get busy with
the brushes and the piece just won't let him).
The group effort that follows, "Bye Bye Teddy" is much more effective,
and the tough pedal points of Augustson's "Magnum Bonum" - shades
of Shannon Jackson and the Decoding Society, yeah! - is a great way to close
the set and send the punters out on a high into the streets of dear old
Stockholm.
Just mind you don't knock the piano over on the way out.
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