VILHELM BROMANDER UNFOLDING ORCHESTRA - Jorden vi ärvde
Vilhelm Bromander Unfolding Orchestra returns with the follow-up to their critically acclaimed 2023 debut In this forever unfolding moment. It’s due to be released on LP, CD and digitally on April 25th, 2025.
In 2023 the Swedish bassist and composer Vilhelm Bromander turned heads with the stunning debut album of a new large ensemble, which has now adopted its name— Vilhelm Bromander Unfolding Orchestra—from that recording: In this forever unfolding moment. That album, which earned him the prestigious Gyllene Skivan and Manifest Awards, was an auspicious premiere, that braided many of the passions of the young musician, including his devotion to Indian dhrupad music, the politically charged folk-jazz sound of the music Carla Bley created for Charlie Haden’s Liberation Music Orchestra, and his commitment to close listening, where tuning with other musicians opens up new harmonic vistas. A veteran presence on the energetic Stockholm creative music scene, he eschews any divide between the pure expression in his music and the social activism of his personal choices.
The twinned directness distinguishes the ensemble’s riveting second album Jorden vi ärvde (“the earth we inherited”), which both reflects on the alarming state of our planet while simultaneously delivering the urgent reminder that we don’t own Earth, but we merely get to spend some time here before passing it on to those to come in our wake. Bromander was inspired to compose the music following the birth of his first son, and it is dedicated to him and his little brother. “The album is an attempt to spread light, beauty, hope and resistance, and at the same time to take in the great seriousness that our time has in front of us; right-wing forces on the rise, rearmament, war and climate disasters,” explains Bromander. “We, the people of this time, seem unable to grasp the fact that our time here is on loan from future generations. But what are the consequences if we take this realization seriously and let it influence the way we live our lives? And how can we find the power and hope to change?”
Our world seems on fire, with hope in short supply, which makes this latest transmission from Bromander all the more valuable. The music conveys a deep-seated trust in humanity even as it raises alarms about our degradation of the planet. Rather than succumbing to depression and futility, the music draws attention to the beauty and spirituality that captures humanity at its best. The composer sees that sort of responsible, thoughtful stewardship applying art’s rich history, too, particularly through the lens of its most conscientious practitioners. “It is an attempt to summon the courage, dreams and visions that previous generations of musicians and artists have shown and given us, with a hope to continue working in the same radical spirit.”
The album reveals Bromander’s heightened confidence and burnished facility for writing and arranging for a large band. The music sinks deeper into jazz tradition than its predecessor, while enlisting the ensemble’s stunning cast of musicians to contrast with the meticulously arranged charts, which are not only forever unfolding, but patiently unfolding.
Pianist Alex Zethson introduces a ravishing theme on “Jorden vi ärvde, den skall oss också ärvas,” prying open its beauty with his measured phrasing before Bromander and the legendary bass clarinetist Christer Bothén begin an almost stealthy yet conversational exploration of those contours. Slowly, gauzy arrangements begin to seep in, thickening and evolving into a lush, sweeping propulsion punctuated by a lyrical improvisation from vibraphonist Mattias Ståhl and a tuneful trumpet statement by Emil Strandberg, the latter lifted up the dynamic interplay of drummers Anton Jonsson and Dennis Egberth, who are rejoined by the full orchestra to shepherd the piece toward its elegant recapitulation.
Bromander acknowledges a debt to the Liberation Music Orchestra on his full-bodied ballad “Erde,” which opens with the delicate metallic interplay of the drummers, haloed by sparse, shimmering daubs, before Zethson and the bassist continues large with an astonishing duo passage. The tune underlines the most basic thrust of the album: Bromander calls it “an elegiac fight song,” evoking a battle that’s more mystical than violent. His masterful arrangements simultaneously draw upon the ensemble’s ability to produce the most transcendent, gossamer textures and melodic shapes.
Tenor saxophonist Elin Forkelid boldly takes up the mantle of Dewey Redman, the namesake reedist behind “For Dewey,” which Bromander considers an homage to the elastic beauty achieved by pianist Keith Jarrett’s classic quartet with Redman, Charlie Haden, and Paul Motian. It’s on this triumphant wonder that the bandleader fully displays his knack for orchestration, using his ensemble to produce gorgeous chordal swells, interlocking riffs, and extended improvisation courtesy of Ståhl. The album concludes with “Calliope,” which touches on Bromander’s deep engagement with Indian classical tradition. He calls it “a raga-inspired song where the harp acts as our swarmandal, establishing the tonality,” referring to the zither-like Indian instrument. The multipartite wonder contains a slew of deftly synchronized moving parts, a feast of shifting polyrhythms and changing timbres that cushion jaw-dropping solos from Bothén and saxophonist Martin Küchen, and a hushed benediction from violinist Katt Hernandez.
“The music on this album continues to explore similar themes as In this forever unfolding moment but in comparison, the music presented here is more through-composed,” explains Bromander. “I have sought a directness, where the music is felt and burns. Where there is a presence and a mystery.” On those terms there’s no question he has succeeded, building on his past achievement to create something new that envelops the listener, soothing us even as it calls out for action.
Biography
Vilhelm Bromander (1988) is a Swedish bass player and composer deeply entwined in the Stockholm experimental, improv and free jazz scene. Influenced by his studies of dhrupad with Marianne Svašek and just intonation with Marc Sabat as well as his love and devotion for jazz, he strives for a deep, gentle and communal music. He can be heard in groups such as Svenska Folkjazzkvartetten, Christer Bothén 3, in duo with Fredrik Rasten, Kommun and with Elin Forkelid plays for Trane among others.
Vilhelm has worked a lot with solo double bass, where he directs his focus to acoustic details such as beating, common partials and difference tones – to hear what happens with our perception when we allow ourselves to be immersed in sound for a longer stretch of time. In January '22 he also debuted as a soprano saxophone player with his new chamber work, Aurora, that was released by warm winters ltd.
As an improviser he has played with musicians like Axel Dörner, Tisha Mukarji, Michael Thieke, Sten Sandell, Phil Minton, Lars-Göran Ulander, Mazen Kerbaj, Maria W. Horn, Christer Bothén, Katt Hernandez, Joel Grip, Lisa Ullén, Henrik Olsson to name a few. He is also an active session musician and has played with Daniel Johnston, Sara Parkman, Ellen Arkbro, Saigon, Musette, Joe Davolaz, Rotem Geffen, Josefin Öhrn + The Liberation and The Tiny.
In 2023 he launched the 13-piece ensemble Vilhelm Bromander Unfolding Orchestra. Their debut album In this forever unfolding moment, released on Thanatosis produktion, won the prestigious Manifest and Gyllene Skivan awards, received 5/5-reviews in Downbeat Magazine and UK Vibe, and was included on the Best Albums of 2023 in Downbeat magazine as well as the Best of Jazz on Bandcamp, October ‘23. UK magazine The Wire wrote: “A beautiful, assured set of performances that slip between free jazz and psychedelic drone with simplicity and verve.” In 2024 the group gave a riveting performance at the Berlin Jazz Festival as well as playing concerts all over Scandinavia.
