"Mindiatyr" (Bobo Stenson)

Played by:
Andreas W Andersson - Soprano saxophone
Jesse Emmoth - Grand piano

Recorded live at:
Malmö Academy of music, May 2019

Mindiatyr

An ambient rendition of the Swedish hymn "Livet vann, dess namn är Jesus" (Trad. english melody), featuring only the first few phrases of the tune.

Livet Vann...

An ambient rendition of the Swedish advent and Palm Sunday hymn "Bereden väg för Herran".

Bereden Väg För Herran

Two pieces from the radio broadcast of a concert at 'Malmö Jazzmanifest' (May 2022). The recording was made by Sveriges radio P2.

MUSICIANS
Andreas W Andersson: Saxophones
Bobo Stenson: Piano
Mattias Hjorth: Double bass
Peter Nilsson: Drums

Litania (Krzysztof Komeda)

Entering (Andreas W Andersson)

This is the closing piece from a solo performance at the 2007 edition of KopaFestival in Malmö, Sweden. 

I remember being quite nervous in front of a discerning audience with every sound being captured by SR P2 (The Swedish national broadcaster) for later transmission. This occasion also marks one of the last times i ever used the soprano saxophone as a solo instrument, also signaling an era of less frequent overall use of the instrument on my part.

Here's a link for more info on the festival. www.kopasetic.se/en/kopafestival-2007

'Festival'

Eikon

EIKON

All compositions by Andreas W Andersson 

Recorded April 2018 at LP studios, Malmö
Recorded, mixed and mastered by Christoffer Wallin 
Produced by Andreas W Andersson 
Cover artwork & design by Mikaela Ohlsson

About ‘EIKON’

'Most of this music started life as part of the daily rhythm of worship, eucharist and prayer in the community at Scargill House in North Yorkshire (England). The pieces were primarily written for various Sundays in the liturgical year. And as such they were intentionally simple and sparse, for practical as well as aesthetical reasons. The other pieces were also written at Scargill but not specifically for this daily rhythm. 

So in making this album I was obviously concerned with memory and documentation, and with wanting to re-present something of Scargill. But it is also true that I wanted to transfer the pieces into a different setting to explore what would happen if Ola and myself applied our sensibilities as improvising musicians to them. So pieces born in a space of worship and prayer were gently expanded on, revealing just what and where such a space might actually be. In that sense this still is at its heart spiritual music: simple, gently exploratory, and hopefully evoking the imagination like icons do.'

Andreas W Andersson

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