Johan Budi
The contemporary European jazz landscape continues to evolve through a delicate balance of traditional improvisation and avant-garde exploration, a trend exemplified by three significant 2025 releases from Siril Malmedal Hauge and Kjetil Mulelid, Guido Spannocchi, and Anton Toorell. These recordings, though distinct in their geographic origins and instrumental configurations, collectively illustrate the broadening definition of "chamber jazz" in the mid-2020s. From the minimalist, wintry landscapes of Norway to the vibrant, cross-cultural streets of London and the experimental guitar solos recorded in the Italian countryside, these albums represent a pivotal moment for independent European labels including Svale Records, Audioguido Records, and Thanatosis Produktion.
Scandinavian Intimacy: Hauge and Mulelid’s Collaborative Evolution
The partnership between vocalist Siril Malmedal Hauge and pianist Kjetil Mulelid reaches a new level of maturity with their latest release, I Remember Oranges. Recorded over a two-day session on June 17–18, 2025, at the renowned Propeller Studio in Norway, the album serves as a testament to the enduring chemistry between the two musicians. In the competitive world of jazz duos—where the absence of a rhythm section leaves no room for technical error—Hauge and Mulelid rely on a shared musical shorthand developed through years of professional collaboration.
The album features a mix of original compositions and curated covers, showcasing the duo’s ability to synthesize international jazz influences into a localized, Nordic aesthetic. Hauge’s vocal performance is characterized by a distinctive tonal quality that avoids the conventional "sweetness" often associated with vocal jazz. Observers have noted that while her delivery lacks the lush vibrato of a Stacey Kent or the heavy soulfulness of a Molly Johnson, it offers a "wavering tide" effect—a dynamic shift between high and low registers that mirrors the naturalistic themes of the record.
Technical Composition and Guest Contributions
Kjetil Mulelid’s pianism provides a structural foundation that is at once dry and technically dazzling. On tracks such as "What Reason Could I Give," his use of glissandos and rapid runs creates a hypnotic effect that contrasts with the more "cautious" approach found elsewhere on the disc. The inclusion of guest musicians further expands the album’s sonic palette. Mathias Eick, a prominent trumpeter known for his work with the ECM label, provides a notable interlude on the track "Cranes," while Johanne Flottorp contributes fiddle textures that ground the music in Norwegian folk traditions.
The production choices at Propeller Studio emphasize a moody, softer tone, a hallmark of the modern Scandinavian sound. This "less is more" philosophy is evident in the track sequencing, which alternates between vocal-led openers like "I Remember" and piano-centric introductions such as "Ventetid." The result is a 40-minute exploration of space and silence, reinforcing the duo’s status as key figures in the current Nordic jazz scene.
Guido Spannocchi and the Reimagining of Chamber Music
While Hauge and Mulelid explore the rural quietude of the north, Vienna-born and London-based saxophonist Guido Spannocchi takes a more urban and historical approach with his album Kammermusik. Released under the Audioguido Records imprint, the project seeks to bridge the gap between the formal "chamber music" of Spannocchi’s upbringing and the improvisational freedom of the London jazz circuit.
Spannocchi’s work is deeply rooted in a European perspective, incorporating Yiddish influences and klezmer motifs that provide a sense of historical continuity. The album’s title, which translates directly to "chamber music," is a literal description of its structural intent: small-ensemble music designed for intimate settings but executed with contemporary jazz sensibilities.
Instrumentation and Atmospheric Design
A defining characteristic of Kammermusik is the use of vibraphone and percussion, performed by James Larter, which lends the record a "shimmering" quality reminiscent of 1950s film noir and the mid-century compositions of Henry Mancini. On the track "DKT," the interplay between the saxophone and the mallet instruments creates a gliding, mesmerising tone that evokes a nostalgic, old-school charm.
The ensemble—comprising Spannocchi on saxophone, Danny Keane on cello, Andea Di Biase on bass, and Larter on percussion—allows for a complex layering of sounds. In "Kivu," the fusion of strings and klezmer-inflected saxophone highlights the versatility of the chamber-jazz format. Analysts suggest that Spannocchi’s ability to evoke specific moods and memories through these instrumental pairings places him alongside contemporary innovators like Miho Hazama and Gideon Broshy, though his aesthetic remains firmly tethered to a Central European heritage.
Anton Toorell: The Urgency of Minimalist Guitar
Shifting from the ensemble format to the starkness of the solo performer, Swedish guitarist Anton Toorell presents Solos II, a three-track release that challenges the boundaries of jazz and experimental music. Released by Thanatosis Produktion, the album was recorded between 2024 and 2025 at Palazzo Stabile in Piemonte, Italy. Despite its brief tracklist, the album clocks in at over 31 minutes, signaling a focus on long-form, rigorous exploration.
Toorell’s approach is characterized by a persistent, almost feverish urgency. The opening track, "Volta," utilizes swirling cycles of sound and repetition, drawing comparisons to the minimalist structures of Philip Glass. However, unlike the "icy bareness" of traditional minimalism, Toorell employs a deep sense of reverb and a dense, rhythmic strumming that creates a more tactile, physical listening experience.
Subverting the Psychedelic Tradition
The album moves from the "rush and wave" of "Volta" into the hypnotic but restless "Cripta," before concluding with "Scala," a piece that adopts a more meditative but no less intense route. In "Scala," Toorell introduces a "harshness" through clanging chords and string tugs, suggesting a deliberate subversion of typical psychedelic or ambient guitar music.
This release reflects a broader trend in the Swedish experimental scene where artists are rethinking structural motifs to create tension rather than relaxation. By utilizing the natural acoustics of the Italian recording location, Toorell achieves a sound that is both intimate and expansive, positioning Solos II as a significant contribution to the solo guitar canon.
Chronology and Production Context
The release of these three albums in 2025 marks a period of high productivity for the independent European jazz sector. The following timeline outlines the development and release of these projects:
- 2024 – Early 2025: Anton Toorell begins recording sessions for Solos II at Palazzo Stabile in Italy, focusing on the acoustics of the historic venue to capture the "thrum" of his guitar work.
- June 17–18, 2025: Siril Malmedal Hauge and Kjetil Mulelid record I Remember Oranges at Propeller Studio in Norway. The sessions include guest appearances by Mathias Eick and Johanne Flottorp.
- Mid-2025: Guido Spannocchi completes the production of Kammermusik in London, finalizing a tracklist that includes "Echoes Of Your Formal Education" and "Retrospect."
- Late 2025: All three albums enter international distribution via Svale Records, Audioguido Records, and Thanatosis Produktion, targeting both digital platforms and the burgeoning vinyl market.
Broader Impact and Industry Implications
The simultaneous emergence of these works highlights several key trends within the global music industry. First, the "European perspective" in jazz is becoming increasingly distinct from its American counterparts. While American jazz often emphasizes a direct lineage to blues and hard-bop, the European scene—as seen in these releases—is more likely to incorporate classical chamber motifs, folk traditions, and minimalist repetition.
Furthermore, the success of these niche releases points to the viability of independent labels in a streaming-dominated era. Labels like Thanatosis Produktion and Svale Records have carved out a market by focusing on high-quality production and unique artistic voices that do not necessarily cater to mainstream "dinner jazz" playlists.
The analytical consensus among industry observers is that the "Scandinavian Sound" (Hauge/Mulelid) and the "London Chamber Scene" (Spannocchi) are no longer isolated movements but are part of a unified, highly professionalized network of European improvisers. As these artists continue to tour and collaborate across borders, the distinctions between classical, jazz, and experimental music continue to blur, suggesting a future for the genre that is as diverse as it is technically rigorous.
In conclusion, I Remember Oranges, Kammermusik, and Solos II represent a sophisticated cross-section of 2025’s musical output. Whether through the intimate vocal-piano dialogues of a Norwegian duo, the nostalgic chamber-jazz of a London-based saxophonist, or the urgent minimalist strums of a Swedish guitarist, these recordings confirm that the spirit of innovation in European jazz remains vital and uncompromising.
