‘Jorden vi ärvde’ functions as a profound sonic meditation on the concepts of stewardship, inheritance, and ecological urgency. Following the critical acclaim of his debut, Vilhelm Bromander has refined his large ensemble into a vessel capable of navigating the complex waters between spiritual jazz, European folk traditions, and the avant-garde. The title, which translates to “the earth we inherited,” serves as a poignant reminder of our transitory status on this planet, a realization sparked by the birth of the composer’s children. Recorded at Atlantis Studios by Niclas Lindström, the album possesses a luminous clarity that honors both the individual brilliance of the thirteen musicians and the cohesive power of the collective.
The opening title track, “Jorden vi ärvde, den skall oss också ärvas”, begins with a fragile, measured theme introduced by pianist Alex Zethson. It is a moment of deep listening that gradually expands as Bromander’s double bass and Christer Bothén’s bass clarinet engage in a conversational dance. The arrangement unfolds with a deliberate, patient grace, eventually swelling into a lush propulsion. Lyrical contributions from vibraphonist Mattias Ståhl and trumpeter Emil Strandberg are lifted by the dual percussive engine of drummers Anton Jonsson and Dennis Egberth. This is music that breathes with the gravity of its subject matter, seeking to find beauty and resistance amidst the shadows of global crisis.
In “Erde,” Bromander acknowledges the influence of Charlie Haden’s Liberation Music Orchestra, crafting what he describes as an elegiac fight song. The piece begins with the metallic shimmer of the drums before transitioning into a remarkable duo passage between Zethson and Bromander. There is a mystical quality to the harmony here, a sense of battling for the future through the preservation of light. The ensemble, featuring the rich textures of Alberto Pinton’s baritone saxophone and Mats Äleklint’s trombone, produces gossamer melodic shapes that feel both ancient and startlingly immediate.
The tribute “For Dewey” serves as a high-energy homage to the elastic beauty of the Keith Jarrett American Quartet. Tenor saxophonist Elin Forkelid delivers a bold, spirited performance that honors the legacy of Dewey Redman, while the orchestra provides gorgeous chordal swells and interlocking riffs. Bromander’s gift for orchestration is on full display here; he manages a large group with the nimbleness of a small combo, allowing for extended improvisations that never lose sight of the overarching composition. The presence of Stina Hellberg Agback’s harp adds a unique, crystalline dimension to the ensemble’s footprint.
The concluding “Calliope” draws upon Bromander’s long-standing devotion to Indian classical music. The harp functions as a swarmandal, establishing a tonal center that grounds the raga-inspired structure. This multipartite work is a feast of shifting polyrhythms and timbral changes, featuring commanding solos from Bothén and alto saxophonist Martin Küchen. The piece eventually subsides into a hushed, sacred benediction from violinist Katt Hernandez. Through ‘Jorden vi ärvde’, Vilhelm Bromander has created a work of significant moral and intellectual weight. It is an album that refuses the easy path of despair, opting instead to build a resonant, through-composed vision of hope and responsibility.
Visit Vilhelm Bromander’s Website or Bandcamp to learn more.
