Smålands Tidningen March 2002
FAMOUS BIG BAND IN ANEBY
Big band jazz, far beyond the regular run of the mill, was on the agenda at Konserthuset Tuesday evening. The Danish/Swedish Beijbom Kroner Big Band was on stage.
- We don't play the expected average arrangements, like Glenn Miller or Ellington, but rather use the American tradition as our point of departure, summed up Lars Beijbom, the band drummer, in his introduction. A musical mosaic where the arrangements seemed to almost overflow with cranks and ideas followed. There were African rhythms, Argentine tango, Southamerican folklore, funk and rock, with jazz music as the founding element. But at the same time with a Scandinavian touch, which makes this band one of the most exciting bands to listen to these days.
All the music was ‘homegrown’, written by either Beijbom or trombonist Erling Kroner. There were homages to Charles Mingus and other greats and exquisite newly written arrangements, all handled elegantly by the musicians. But don't forget, they have all been hand-picked from various constellations, like they have been since the start almost ten years ago.
New audiences
- We have been working diligently to get out and meet the audiences that might not ordinarily come to the jazz clubs, and to be able to communicate musically with younger and older people alike, continued Lars Beijbom. This has resulted in more and more people coming for the concerts, Aneby being no exception, there were only a few free seats in the Konserhuset hall. The musicians were having a ball, and the second set was possibly even better than the first set. And the encore offered a trumpet duel bringing back memories of days gone by. Jazz's Formula 1 the band has been called. That name is evidently extremely appropriate. Göran Engström.
POLITIKEN Sunday July 8, 2001. The Royal Library, The Queen’s Hall: Beijbom Kroner Big Band, Friday July 6.
. . . The 17 piece Danish-Swedish orchestra played two excellent sets, and no wonder that the two band leaders exposed their enthusiasm over getting a band with such scant performing abilities to sound that great (probably also sound engineer, the very experienced Niels Christensen, had something to do with that). And their pride and joy over beeing able to present new music, written especially for the band, was understandable. Six new original pieces that furthermore presented a broad picture of the band’s capabilities, from Niels Jørgens Steen’s ‘Happy Song’ - with a, for the composer, typically elegant, almost Benny Carter-like, sax chorus - to Niels Gerhardt's beautiful ‘Blue Rain’ and Beijbom’s rough big city-pulsating ‘Uptown Grind’. Further compositions by Swedish tenor player Magnus Lindgren, who contributed 'Stations', Danish trumpeter Lars Togeby's 'Bits And Pieces' and Erling Kroner's 'Theloneliest'.
THE SECOND SET OFFERED musical examples from the band’s book, and the concluding pieces ‘No Looking Back' and ‘The Ming - The King’ (signed Beijbom and Kroner respectively) released an enormous energy in the band and could have been presented under the joint heading of ‘structured chaos’.
Furthermore the music offered excellent solo playing by not in the least saxophone players Fredrik Carlqvist (razor sharp controlled passion in Kroner’s tango ‘El Despelote’) and Pernille Bévort, and trumpet player Mårten Lundgren (playing with great command in the Niels Jørgen Steen piece). And Beijbom’s drumming carried the band with a fine mix of devil-may-care and restraint. (THORBJØRN SJØGREN)
Christ, what Öresound!
Fagersta, Sweden, March 23, 1999
Once the Öresound Bridge is ready Lars Beijbom and Erling Kroner will be happier than most, 'cause that should make it easier for them keeping together the phenomenal big band that visited Lindgården in Fagersta the other day, a red-white-yellow-blue madhouse with potent and swinging Öresound. Danish trombonist Erling Kroner and Swedish drummer Lars Beijbom have drummed together (oops!) a Danish-Swedish 'hands-across-the-border' that doesn't stick up for anything. The band has functioned since 1993, and HOW they function. There is no yellow-belly playing here. The dynamic marking "f" is abundant in the scores, and (the band) swings in that muscular way that forces the average "Moonlight Serenade"-bigband-fan to reach for his ear protection. A lot of the material is original, often with tango-inspirations. It is a very 'live' band with a lot of spontaneous last-minute decisions about soloists and other details. Panic never strikes, 'cause Beijbom - Kroner have a most manageable body of musicians that on the spur of the moment can adapt to the bandleaders' lust for improvisation. However strange it might seem, newcomers of the band apparently have no problem in finding their place even though neither playing nor writing is the average, straight-ahead, run-of-the-mill baloney. On the contrary, many of the arrangements would most probably be considered extremely difficult by even very accomplished ensemble musicians. Star soloists abound, but let me single out trumpetplayer Fredrik Davidsson, trombonist Calle Lindberg and saxplayers Ed Epstein and Pernille Bévort, the latter a wonderful musician who definitely didn't get on the band through gender quotas! Lars Beijbom is an enormous driving force behind the drums - offhand I can't think of bigband-drumming of this caliber since Buddy Rich. Good for us that Lennart Wallnor (the arranger) grabbed the opportunity as the band was passing by on its trip to Norrland. Else we would have missed out on a real peak performance. (Bertil Danielsson, Nya Ludvika Tidning)
Different Big Band Jazz
Härnösand, Sweden, March 22, 1999
... During the two-hour-long concert the splendid musicians mixed various musical styles with excellent results. The concert was kicked off with a piece by Argentine tango-maestro Astor Piazzolla ... (apart from that) most of the material was composed by the two band leaders, a.o. Kroner's ode to legendary bass player Charles Mingus, "The Ming - The King!". Also a tune by Mingus himself was on the program, swinging "Jump Monk"... Guitar player Rolf Nilsson was an interesting contrast to the classic big band sound. Sometimes it even reminded one of 70-ties heroes "Chicago"; or like it is stated on the band's homepage: "with the feet solidly in the tradition - reaching for the sky!" ... Mentioning everyone of the 17 members is impossible, but of special merit among the soloists were the two bandleaders, the lone woman of the band saxophonist Pernille Bévort and the fine pianist Martin Persson. (Anders Larsson, Värmlands Tidning.)
...The band sometimes sounds very African, full of rocking rhythms. (Kristianstad Bladet)
....was full of jazz buffs who were nodding their heads and stomping their feet in time with the latest, hippest big band of international class... it was easy to understand the audience's standing ovation. (Skånska Dagbladet)
...Most other big bands can eat their hearts out! (Orkester Journalen)
...And add some exciting soloists: both trombonists Kroner and Calle Lindberg and Ed Epstein who soloed elegantly on his big baritone. (Christer Borg)
The fact that they only played original material by the bandleaders contributes to the impression of a different big band... Beijbom often finds inspiration in Ellington's sophisticated colors, whereas Kroner has found great nourishment in the Argentine tango music... The presence of flute and tuba (!) gives an exciting and personal sound. (IDAG)
...that the first tune was entitled Candombe Domingus was pretty characteristic: Argentine rhythms mixed with bluesy, sassy and great jazz tradition in the spirit of Charles Mingus. This is an international orchestra in more than one way .. (SDS)
... more than anybody Erling Kroner, whose juicy and expressive trombone playing you could hear a couple of hours later in the King's Garden ... the tightly structured chaos with tempo- and key changes en masse in I'm Trying - I'm Dying ... Michelangelo 70 with the stylistically secure and expressive flute playing of Flemming Lund ... Beijbom's compositions ... widened the scope even more ... The unpredictability of Beijbom's drumming ... turned out to fit into the music just great ...Ed Epstein’s baritone and Jacob Karlzon's dancing piano were heard with pleasure. (Thorbjørn Sjøgren, Politiken)
... Beijbom had a tight grip on ballads and heavy funk, and Kroner's fascination of the authentic Argentine tango and the devil-may-care universe of jazz-savage Charles Mingus was extremely well projected and interpreted. (Kjeld Frandsen, Berlingske Tidende)
... It was big and beautiful - even outstanding - orchestral music with an abundance of colors and rhythmic intensity creating a wealth of moods and passions, elation and bliss, sadness and pain. It was wonderful to let yourself get carried away ... the arrangements clearly pointed back to the inspiration from a.o. Charlie Mingus and the Argentine tango, more than any the opening number Candombe Domingus ... Also Lars Beijbom's Riff City was fantastic, a wonderful, tough-swinging number. (Per Calum, Jyllands Posten)
In (Beijbom's) S'far As We Know trumpet player Thomas Fryland seemed to let everything go. With his fantastic sound and fluent playing he seemed to let the notes fly around the hall like playful butterflies. . . .In Erling Kroner's homage to Charles Mingus, The Ming - the King! there was an abundance of tough tempo changes and a host of soloists. It seems like the amount of soloists depends upon who feels the calling. The sharpest performer was Erling Kroner with a plunger-muted solo in a super fast tempo concluding with a solo-statement before the rhythm section came back in again in a slower tempo. Likewise Istvan Gabor, who played a passage, that turned out to be one of the greatest sax-statements of the evening. (Johan Persson, Kristianstadbladet)
Behind the drums he (Beijbom) is in total command of everything that goes on, driving the whole band, sometimes thunderous and domineering, but always unpredictable and alert. (Fride Jansson, Södermanlands Nyheter)
JAZZ JOURNAL, May 2000
The second outing on record for a full-blooded conglomeration of Danes and Swedes, plus one American, whose first record was voted CD of the year by Danish jazz critics. It is mainly originals by co-leaders Beijbom and Kroner, with the odd Latin tinge (El Despelote and Escualo). Music that is different from song to song, say the co-leaders in their sleeve notes and the mixture seems to work.
The general ambience is a happy one, the execution tight and controlled. Longest and perhaps most adventurous piece is the charming El Despelote, effectively arranged by Kroner, who wrote it. Ringkjobing provides a firm trumpet lead throughout. Karlzon, among the most admired keyboard men in Scandinavia at the moment, contributes sensitive piano in Beijbom's sombre Fire Within. Zum Vohrde's alto is a feature of the sprightly Forgotten Art, originally recorded by Kroner's quintet all of 20 years ago. Some propulsive bass work by Bodilsen too. Fridell plays nice soprano on Is That Okay With You?, of which the joint perpetrators of the album say in their high-spirited sleeve notes: It's as if James Brown met Frank Zappa in Venezuela, and this conveys the mood. Lund's flute work is impressive in the tribute to the late Jorge Luis Borges, where we're in Gil Evans' territory. The group is not afraid of stretching the rules with a 10-bar Orange Blues, notable for some fine and funky guitar work from Nilsson. Peggy's Blue Skylight is a tribute to Mingus, described by co-leaders as always part of the band's psychological make-up. It seems to work.
John Chadwick
One of Europe's most accomplished Jazz ensembles says Jack Bowers, All About Jazz, January 1999
The "opposites" in this case are co-leaders Lars Beijbom (Swedish drummer) and Erling Kroner (Danish trombonist), and while they may be poles apart in many respects, they do, thankfully, have at least one thing in common - Beijbom and Kroner are two of Europe's foremost composer/arranger/musicians. What they have attracted are 17 first-class players, nine from Denmark, seven from Sweden and one from the U.S. to form the five-year-old Beijbom Kroner Big Band, which made its recording debut last year with 'Live in Copenhagen' (named "CD of the Year" by the Dansih Jazz magazine, 'Jazz Special'). Their approach to big-band Jazz is counteractive as well, with Beijbom having listened closely to such contemporary American composers as Gil Evans, Thad Jones, Bill Holman and others, while Kroner has been greatly inspired by the music of Latin America, more specifically Argentina, an influence that is often mirrored in the impulsive rhythms and tenor of his compositions. Again, their differing approaches complement each other well, giving the listener the aural equivalent of two splendid albums for the price of one. Beijbom wrote five of the ten selections on this second release, while Kroner drafted three and also arranged Charles Mingus’ "Peggy's Blue Skylight" and Astor Piazzolla's tango, "Escualo". Kroner's "The Forgotten Art", absent any Latin trappings, is as Jazzy and swinging as anything on the disc with suitably warm-blooded solos by guitarist Nilsson, tenor Fridell and bassist Bodilsen. Beijbom's compositions range from smooth ("Rise and Shine") to sassy ("S'Far as We Know", "The Fire Within"), funky ("Is That O.K. with You?") to morose ("Orange Blues"). Kroner's other pieces, "El Despelote" and "Borges - el último Tigre" are Latin in nature, the first a "tango nuevo", the second a zamba in 3/4 time. "Peggy's Blue Skylight" is a straight-ahead groover, Piazzolla's "Escualo" an "unorthodox tango" whose stop-and-go cadences are in keeping with their Argentine lineage. The soloists, all world-class, include Fryland (on flugel and trumpet), Epstein, Lund, zum Vohrde, Bäcker, Lindberg, Bévort, Fridell (tenor and soprano), Nilsson, Karlzon, Bodilsen and Kroner. Beijbom anchors a solid rhythm section, while reeds and brass (led by trumpeter Gustafsson) navigate the often hazardous terrain without a misstep. An intrepid and colorful session by one of Europe's most accomplished Jazz ensembles. (John M. Bowers, All About Jazz, January 1999)
Like a Mating Game. Prejudice has it that big band-jazz doesn't swing and more often than not is boring. Drummer Lasse Beijbom's and trombonist Erling Kroner's Swedish-Danish band has arrived on the scene to 'wring the nose' on such misconceptions. CD number two (from the band) is a lot of fun and very profound. One reason being that the band deals solely with original material, but at the same time seems to 'spontaneous-combust' in all corners of the music. Just beneath the surface one feels the collective 'devil-may-care' attitude of Charles Mingus, who steps to the fore-front in "Peggy's Blue Skylight", a Mingus composition. That aside, original music by B. & K. abound. And, yes, the opposites do mate; Kroner's Argentine tango-isms cuddle up with Beijbom's salty funk and make love to beautiful ballads. It gets even more colorful thanks to a string of instrumentalists a.o. "fulltime flute-player" Flemming Lund (who adds a radiant and soft edge to the ensemble), pianist Jacob Karlzon with the singing touch, baritone-player Ed Epstein, guitar-player Rolf Nilsson and Kroner himself with his gutsy trombone-playing.
Music from personalities with things to say and who do so with bite, a wide sound-scope, imagination and a 'no fool, no fun' attitude.
(Alexander Agrell, Sydsvenskan, December 21, 1998)
"Opposites Attract" - very likely - in this case the opposites are drummer Lars Beijbom and trombonist Erling Kroner who, at least musically, are quite different. Together they run their big band with just about an equal amount of members from both sides of the Øresund, and furthermore they divide the writing for the band between themselves in a brotherly fashion. Beijbom is as composer and arranger more 'in the tradition' than Kroner and obviously loves both Ellington and Basie, while tough Erling has taken Charles Mingus and the Argentine tango to heart. As a result the music is very diverse: a beautiful swinging tune followed by a hot tango etc.
....Just like the first record, recorded at Copenhagen JazzHouse the Summer of 1995, Erling Kroner's original work is most interesting and provides the opportunity for this excellent big band to really take it out. Most suggestive El Despelote is a beautifully coloristic story with exquisite soloing by Pernille Bévort on tenor and Borges - el último Tigre - a homage to Argentine writer Jorge Luis Borges - is a very beautiful piece of music with Flemming Lund's fine flute partially in the foreground. But the question is if the two concluding numbers, the only ones 'borrowed', Charles Mingus' Peggy's Blue Skylight and Astor Piazzolla's Escualo, both superbly arranged by Kroner, aren't the ones that will stay with you for the longest time. On the Mingus tune Thomas Fryland shines on trumpet. (He) also solos on a very high level on many other tunes on the record. Among others performing honorably are pianist Jacob Karlzon, guitarist Rolf Nilsson, trombonist Calle Lindberg and baritonist Ed Epstein. It would have been nice with a little more from the latter as from altoist Per Bäcker who, besides being a sure-footed sax leader also is a very worthwhile soloist. Beijbom Kroner Big Band is still, just about five years after the start, a vigorous and evidently professional big band with a rhythm section that ought to make most people in the business green with envy. The tight duo of bassist Jesper Bodilsen and drumming co-leader Beijbom jointly can move mountains if need be.
(Jan Olsson, Jazz Stage, December 1998)
Nordic alliance . . Robust and refined . . . With inspiration from the black, North-American jazz and the Argentine tango nuevo Beijbom and Kroner offer their personal angle to how a big band should sound. That is: robust as well as refined. And in tunes like Beijbom's S'Far As We Know and Rise And Shine as well as Kroner's Borges - el ultimo Tigre (which also proves that Debussy did not live in vain) furthermore with a beautiful, lyrical tone that soloists like trumpet player Thomas Fryland and flutist Flemming Lund further enhance. Kroner's The Forgotten Art, composed twenty years ago, is simply a stroke of genius, giving other good soloists like Jan zum Vohrde, Pelle Fridell, Rolf Nilsson, Jesper Bodilsen and Kroner himself a chance to get a word in. . . . .
(Boris Rabinowitsch, Politiken, Oct. 15, 1998)
...(Thomas) Fryland is also among the soloists in Swedish-Danish Beijbom Kroner Big Band whose latest CD "Opposites Attract" confirms its status as the real Øresund-connection. Swedish drummer Lasse B. and Danish trombone player Erling K. each have their own personal identity as composers and arrangers, and both of them want the music to project beyond the boundaries of a stage. Luckily they both never fall victim to the populistic. The band leaders are simply far too original for that. Warmly recommended. (Jørgen Siegumfeldt, Berlingske Tidende, Monday 21. December 1998)
JAZZ's OWN BRIDGE - Dynamic, highly profiled bigband jazz here and now -
Beijbom Kroner Big Band is a unique example of working together across the national borders. A cultural bridge-gapping years before the bridge across the Øresound is ready. The title 'Opposites Attract' more than fits the two leaders, veterans with lots of experience, and add to that two great and exciting arrangers and composers. While Beijbom builds his compositions on a jazz background, Kroner likes to get his inspiration from the Argentine tango and Astor Piazzolla. From this mix comes a very varied and mind-blowing brew. The band has a long line of high-class soloists. Thomas Fryland is one of the most interesting Danish trumpeters today. Calle Lindberg does not lag behind his band-leader and instrumental colleague, when it comes to originally structured trombone solos. Jan zum Vohrde is a great saxplayer (with experience from a.o. Ernie Wilkins Almost Big Band), (as is) the Lundian nationalized Ed Epstein. The qualities of pianist Jacob Karlzon is being praised everywhere. Conclusion: Dynamic, highly profiled bigband jazz right here and now. (Christer Borg, Kvällsposten, Sept. 21, 1998)
. . . . "Opposites Attract" is CD number 2 from Lars Beijbom and Erling Kroner, who are taking turns in composing and arranging for the orchestra. Lars Beijbom’s drumming relentlessly drives the musicians through a wealth of sounds, and just like the Jazzpar-CD (Ahí va el negro, Storyville Records 1998) of Kroner, there is a lot of inspiration from Ellington as well as Mingus. Likewise there are inspirations from the Argentine tango and other Argentine music, but the overall impression is unmistakably Beijbom-Kroner’s. . . With a generous, musical hand (the CD) is bestowed with a string of solistical gems, not in the least Thomas Fryland’s intensely beautiful trumpet playing impresses. . . . .
(Per Calum, Jyllands-Posten Tuesday January 5, 1999)
. . . . That the opposites create a wealth of great stuff is even more apparent now than on the debut 'Live in Copenhagen'. Drummer Lars Beijbom and trombone player Erling Kroner have disparate musical roots and already on the debut they mixed traditional big band music with Argentine tonescapes and funk! 'Opposites Attract' is an even more coherent recording by a very tight big band. Despite the mixture of different musical influences it never feels disjointed. There's a lot of great soloists, including the two leaders. Names worthy of mentioning are trumpeter Knud Erik Nørgaard, pianist Jacob Karlzon and guitarist Rolf Nilsson. The main bulk of the material is original. Add to that a couple of very beautiful tunes by Charles Mingus and Astor Piazzolla respectively. Beijbom and Kroner have once again proven that it is worth taking risks in order to expand and grow. (Jan Backenroth, SLA, Friday January 15, 1999)
High level of maturity and competence says John M. Bowers, CADENCE.
Regardless of quality, it's comforting to know that contemporary big bands are performing regularly in such far-flung outposts as Copenhagen, Denmark. But quality isn't a problem in this instance, as the Beijbom (he's the drummer) Kroner (and he plays trombone) Big Band displays a relatively high level of maturity and competence as an ensemble, while the band's various soloists are for the most part impressive. The material, on the other hand, isn't your average straight-ahead big-band fare, with half a dozen intricate charts by Beijbom, three by Kroner, and two by the respected Argentinean composer, Astor Piazzolla. Most are as modern as today (as indeed they should be), with emphasis on kinetic rhythms and unorthodox harmonic structures rather than engaging or indelible melodies (with the possible exception of Piazzolla's haunting "Homage a Cordoba"). There are many rewarding moments, especially in Beijbom's Dukish tone poem, "11 Peterborough Street," his gospel-tinged "Up Your Alley" and shuffling "Riff City," Kroner's Mingus-inspired "I'm Trying -- I'm dying!" and African-based "Milas," and Piazzolla's energetic tango, "Michelangelo 70." As the band is composed of eight musicians from Denmark and eight from Sweden with one American expatriate (baritone saxophonist Epstein), it is appropriate that one of the leaders (Beijbom) should be Swedish, the other Danish. They've formed an effective alliance, one whose philosophy leans heavily toward such other post-modern ensembles as the Mingus and McCoy Tyner Big Bands with an occasional nod toward the much-acclaimed Thad Jones/Mel Lewis ensemble. It's music for the thinking person, and carried off quite well. (Jack Bowers, CADENCE)
& Live Concerts
Tango spiced with funk and devil-may-care.
Turn a tango inside out - and you have a beautifully hip 2/4 rhythm. Spice that with Duke, Mingus and a funky devil-may-care appetite for playing and you have a saucy big band from the Øresund region. . . Kroner is a trombonist with some of the audacity of the late Åke Persson, and as he bows to the sovereign Astor Piazzolla of the modern tango in a couple of colorful numbers, I realize that this band is journeying into new, original rhythmic adventures. Beijbom . . has contributed six of the CD's eleven long tunes (a.o.) a tribute to Thad Jones and a beautiful soundscape of Ellingtonia in "11 Peterborough Street". Kroner, in his turn, bows to Mingus with a rabidly wild church-meeting, "I'm Trying - I'm Dying!", a 6/8 blues with changing tonalities and heated talking-in-tongues exhilaration from the "congregation". Pianist Jacob Karlzon finally moors this tent-meeting almost turning into a rabble. A track really in the spirit of Mingus Big Band. Awesome! There is a lot to say about Beijbom-Kroner's "Live in Copenhagen". For instance the following: listen and buy! (Hans Fridlund, Expressen)
Built bridge across the Øresund. Danish-Swedish Beijbom Kroner Big Band is something very special.
Those who have followed Beijbom's and Kroner's big band in Slagthuset or Teaterrestaurangen in Malmö, already know that the orchestra is something very special. And furthermore very different. The band exclusively plays arrangements by the two leaders and almost exclusively original compositions. Beijbom's works are funky and hip, sometimes based in a new gospel-feel, while Kroner often gets his inspiration from the Argentine tango . . . resulting in a repertoire of exceptionally generous magnitude. BKBB's debut-CD is recorded live at Copenhagen JazzHouse last fall, and it is obvious that the audience as well as the band is having a ball. They 'belt it one' in the often tricky but effective arrangements. Basically they are rock-sure, and all sections, not in the least the rhythm-section with Beijbom's 'no holds barred' urgings, function exceptionally well. There is an abundance of soloists. Trumpetplayer Thomas Fryland is marvelous, both trombonists Kroner and Calle Lindberg, likewise guitarist Rolf Nilsson. And baritoneplayer Ed Epstein swings like a madman in a couple of places. But best of all are pianist Jacob Karlzon and Cennet Jönsson, whose soprano wriggles like an alluring snake. Stop digging! The bridge already exists. It’s called Beijbom Kroner Big Band and consists of eight Danes, eight Swedes and one imported American. (Jan Olsson, Arbetet)
(translated and abbreviated by Erling Kroner)
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