Memories of Bengt Nordström 1 of 2
Peter Axelsson May 05, 05
It was in -84 -85, I rented a flat on Torsgatan in Stockholm, and being one of the last to leave the Fasching Jazz Club every evening, I mostly walked home together with Bengt. During those nightly promenades, we discussed mostly musical forms. Also the direction of music, if the listener is served a completed concept, or if he should have to seek his way into the music. One question was if blending two different concepts, one traditional and one avant garde, would emphasis the free and spontanious quality of the music, and I think I dare to say, that this discussion was what made Bengt want me on "Nows the Frippe Time". One would think that the community of jazz musicians, using their inner spririt to create music, would be sensitive, empathical and show each other solidarity, but to me it seems like the musicians in Sweden who have the gigs and the culture money, instead form the hacking order. Bengt was not compeeting in the musical hierarchy of musicians. In his case it feels true to say that "he followed a different drummer". As for "Nows the Frippe Time", is is satifying to learn that it has found its way to an audience, even to people who don't normally listen to jazz. An indian guy once said, "Its not in the musical form, that is merely a vehicle, it is the soul that communicates". It is sad to think about that Bengt had to end his life in a home for homeless people. Are theese human sacrifices what makes the jazz culture tick, or is it possible to find another, less shameful way to treat our artists?

Thank you Bengt.

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