(Avant-Garde, Free Jazz) Per Henrik Wallin, Johnny Dyani, Erik Dahlback - Burning in Stockholm (1981) {Unheard Music Series / Atavistic UMS/ALP249CD, USA} - 2004, APE (image+.cue) lossless

Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 11. November 2011, 22:31
Wallin, Dyani, Dahlbäck / Burning in Stockholm
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        1  |  0:01.00 | 49:00.67 |        75    |   220641
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     Filename C:\Documents and Settings\VB\My Documents\BARIN99\Wallin, Dyani, Dahlbäck - Burning in Stockholm\Wallin, Dyani, Dahlbäck - Burning in Stockholm.wav
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REM GENRE Jazz
REM DATE 1981
REM DISCID 030B7C01
REM COMMENT "ExactAudioCopy v1.0b1"
PERFORMER "Wallin, Dyani, Dahlback"
TITLE "Burning in Stockholm"
FILE "Wallin, Dyani, Dahlback - Burning in Stockholm.ape" WAVE
  TRACK 01 AUDIO
    TITLE "Burning in Stockholm"
    PERFORMER "Wallin, Dyani, Dahlback"
    INDEX 00 00:00:00
    INDEX 01 00:01:00

5.0 out of 5 stars - Hot Licks, Not Fiery Sticks, November 18, 2011
By: Giordano Bruno (Wherever I am, I am.)
As far as I know, no Wallin (nor any Bruno) was ever burned at the stake in Stockholm. The most renowned Wallin of history -- Johan Olof Wallin (1779-1839) -- was hardly a heretic; in fact he was the Lutheran Archbishop of Uppsala and the poet/composer of some of the most frequently-sung hymns in Swedish churches. In a modest provincial way, the Wallins have been a musical family as persistent as the Bachs of Thuringia or the Scarlattis of Sicily. Per Henrik Wallin (1946-2005) was Sweden's most accomplished jazz pianist, as you'll hear on the "barn-burner" CD. Ulf Wallin is a prominent Swedish violinist, known for his devotion to contemporary music. Rolf Wallin (b. 1957) is an avant-garde composer, whose works compare in style and quality to those of Xenakis, Ligeti, and Berio; Rolf was born in Oslo and is considered Norwegian, but Sweden regards him as a Wallin on loan. And there are other Wallins on the loose in concert halls around the world.
This CD features a single 49-minute "improv" by Per Henrik Wallin on piano, Erik Dahlbäck on drums, and Johnny Dyani on bass, recorded in Stockholm in 1981 but brilliantly re-engineered for release in 2004. None of these musicians is at all well known in the USA, though they've all performed with major American jazz artists in Europe, on tour or in exile, including Albert Ayler and Bud Powell. It would be fair to say that pianist Powell must have been a strong influence on pianist Wallin; you'll hear the classic be-bop elements in Per Henrik's phrasing and in his 'Parkeresque' habit of inserting musical quotations -- subtle riffs on pop tunes, scraps of classical themes, and at this session an extended Charles Ives-like tonal development of a New England hymn. But Wallin's improv is freer than Powell's ever became, and thus closer to the manic energy of Cecil Taylor or the 'flash' on the keyboard of Bennie Greene. It seems clear to my ears that this session was truly improvisatory, and that the three performers superbly nudged each other toward maximum expressiveness. In other words, the trio is as tight an ensemble as if they were playing from written scores at a conservatory recital, yet they revel in their inflammatory spontaneity.

Swedish pianist Per Henrik Wallin continues to be largely overlooked, perhaps due to the fact that the majority of his legacy remains out of print. This 1981 concert of previously unreleased material, Burning In Stockholm, presents Wallin in performance with bassist Johnny Dyani and drummer Erik Dahlbäck. As Mats Gustafsson's enthusiastic liners indicate, Wallin's trio (with regular bassist Torbjörn Hultcrantz) was an inspiration not only to Gustafsson, but other young listeners eager to eat up the thrilling pursuits of Wallin and his cohorts. As a pianist, Wallin consistently proves his unpredictability, throwing out some quasi-bop lines here, adding a tinge of folk there, or flying precipitously around his instrument with abandon and yet, in a way connected to his co-conspirators. Worth special mention are the contributions of Dyani, whose muscular, yet graceful movements demonstrate both delight and technical prowess.
The single, 49-minute excursion is a testament to the trio's stamina. Commencing with a rolling, elastic groove at the outset, the music ebbs and flows in accordance with Wallin's desires. For instance, after the opening quarter of music, at the fourteen-minute mark, the trio locks into a funky, barrelhouse theme that returns intermittently during the remaining 30 minutes. What originally commences as a rather inside path resolves into a flurry of hyperkinetic runs at the halfway point, a showpiece for the trio's versatility. While the concert is certainly challenging, it also contains bursts of showmanship and humor. Take, for instance, the ode to America, seen through a nod to Bernstein's "America" at the 28-minute mark and later, hints of "The Star Spangled Banner". Further, the trio also hints at other folk themes, sprung out of the sparkling interplay between these attuned souls. Just as Gustafsson promises, this trio represents the utmost in communication for music that frightens, puzzles, and burns. (Source: onefinalnote.com)

Burning In Stockholm
Per Henrik Wallin
Previously unreleased smoking trio-based energy music from Scandinavian!
(from Mats gustafsson's liner notes:
…sharing…
The interplay between the players in the Per Henrik Wallin Trio has always been a model for me when it comes to communication in music, that particular symbiosis that appears in a group that has been working together over a long time. The kind of interaction that comes alive after sharing joy and pleasure/ pain and shit together, onstage and offstage….all the mechanics that lay within the structures of a working group.
… the tight grooves shared, the details shared, the energy shared and the structure shared - all shared together in the moment. sharing creativity sharing sharing moments sharing time sharing it together togetherness-sharing
I learned to listen to the music of the PHW Trio in the early eighties, live in my hometown of Umeå at the Scharinska Villan, the local jazzclub. The magic shared between Per Henrik Wallin, Erik Dahlbäck and bassist Torbjörn Hultcrantz (of Albert Ayler and Bud Powell fame) was a revelation to me as a very hungry-for-action 15-year-old beginner in the mysteries of creative music. …I couldn’t believe it…telepathy was the only possible word of solution I could come up with…..and maybe that is exactly what it was…and the music was BURNING!!!

"Per Henrik Wallin (July 17, 1946; June 15, 2005) was a Swedish jazz pianist and composer. He was acclaimed in Continental Europe, but relatively obscure in the United States. He received the Swedish variant of the Golden Django two years before his death."