Johan Budi
The global jazz landscape in 2024 and 2025 has been characterized by a significant blurring of geographical boundaries and a deepening of thematic complexity. Three recent releases—Lilly Hertzman’s Heartshaped, Gustaf Ljunggren’s Along The Low Road, and the B.I.T. duo’s R-Esistenze—exemplify the diverse trajectories of contemporary improvisation. While Hertzman explores the intersection of poetic lyricism and New York’s high-energy quartet dynamics, Ljunggren delves into Nordic minimalism and multi-instrumental textures, and the Italian duo B.I.T. utilizes the medium to engage with historical resistance and social emancipation. Together, these works provide a comprehensive overview of how modern jazz continues to evolve through international collaboration, historical reflection, and technical innovation.
The Transatlantic Sophistication of Lilly Hertzman’s Heartshaped
Lilly Hertzman’s latest offering, Heartshaped, represents a pivotal moment in the vocalist and songwriter’s career. Recorded at the prestigious Clubhouse Recording in Rhinebeck, New York, on April 10 and 11, 2023, the album serves as a bridge between the introspective "Nordic tone" often associated with Scandinavian artists and the rigorous, harmonically advanced tradition of American jazz.
Critics and listeners have noted a stylistic lineage that connects Hertzman not just to her contemporaries, but to the jazz-inflected period of Joni Mitchell’s career, specifically the era of Hejira and Mingus. This influence is manifest in the album’s sophisticated chordal structures and poetic, non-linear lyrical content. However, Heartshaped is far from a derivative work; it is a forceful expression of contemporary jazz that eschews the clichés of the "late-night smoky love song" in favor of rhythmic complexity and emotional raw power.
Technical Personnel and Performance Dynamics
The success of Heartshaped is inextricably linked to the high-caliber quartet Hertzman assembled for the session. The inclusion of Aaron Parks on piano provides the album with a transformative harmonic depth. Parks, known for his ability to blend cinematic atmosphere with technical precision, acts as a primary foil to Hertzman’s vocals. His solos, particularly on the opening track "Revelation," are described as both lyrical and adventurous, pushing the compositions toward emotional climaxes that transcend standard vocal jazz frameworks.
The rhythm section consists of double bassist Thomas Morgan and drummer Jongkuk Kim. Morgan, a veteran of the ECM label and frequent collaborator with Bill Frisell, brings a sensitive, rhythmic intuition to the slower compositions. On tracks like "In The Sound Of The Night," his ability to echo the vocal lines creates a sense of intimate dialogue. Meanwhile, Jongkuk Kim provides a rolling, forward-moving momentum that prevents the more abstract passages from becoming static. Hertzman’s own performance is noted for its "aching vulnerability," drawing comparisons to Billie Holiday, yet she maintains a "fiery longing" that allows her voice to soar above the dense arrangements of the quartet.
Gustaf Ljunggren and the Aesthetic of Nordic Serenity
In stark contrast to the high-energy New York sessions of Hertzman, Gustaf Ljunggren’s Along The Low Road offers a meditation on texture, nature, and the concept of "slow living." Ljunggren, a Swedish multi-instrumentalist based in Copenhagen, has long been a fixture in the Scandinavian music scene. His latest work, a collaboration with Icelandic bassist Skúli Sverrisson, continues an exploration of minimalist beauty that began with their previous album, Floreana.
The cultural context of Along The Low Road is rooted in the high quality of life and "happiness indices" associated with Denmark and Sweden. The music reflects a certain societal tranquility—carefully crafted, gentle, and played with a deceptive ease. Recorded at Sundlaugin in Mosfellsbær, Iceland, and A Small World in Copenhagen, the album utilizes the unique acoustic properties of these locations to enhance its "folksy simplicity."
Multi-Instrumentalism and Texture
Ljunggren’s technical approach on Along The Low Road is remarkably broad. Although trained as a saxophonist, he utilizes an array of plucked string and wind instruments to create a rich, layered soundscape. The instrument list for the album includes:
- Various acoustic and electric guitars
- Baritone ukulele and mandola
- Charango (an Andean lute-like instrument)
- Langspil (a traditional Icelandic drone instrument often made from driftwood)
- Pedal steel guitar, tenor saxophone, flute, and bass clarinet
- Piano, organ, and various synthesizers
Despite this extensive list, the album avoids the pitfalls of over-production. Ljunggren employs minimal overdubbing on the most successful tracks, such as "Lille Skotland" and "Letters Melting," allowing the natural timbre of the instruments to lead the melody. The result is a sound that feels organic and intimate, mimicking the atmosphere of a live performance in a small, resonant space. The collaboration with Skúli Sverrisson is central to this aesthetic; Sverrisson’s electric bass provides a steady, unobtrusive foundation that allows Ljunggren’s melodic motifs to repeat and evolve in a hypnotic fashion.
B.I.T. and the Jazz of Historical Resistance
The third pillar of this contemporary jazz survey is R-Esistenze, the fourth album from the Italian duo B.I.T. (Back In Time). Comprising pianist Manuela Pasqui and saxophonist Danielle Di Majo, the duo has carved out a niche for music that is deeply intellectual and politically engaged. Recorded in January 2025 at Entrophya Studio in Spello, Italy, R-Esistenze is an explicit exploration of "resistance" in its various forms.
The album’s conceptual framework is twofold: it honors the Italian resistance movement during World War II and the broader struggle for women’s emancipation in the early 20th century. This thematic weight is introduced immediately; the first track, "L’Identità Perduta," incorporates soundscapes of wartime explosions and patriotic songs. This sets a dramatic tone that persists throughout the record.
Improvisation as Narrative
Musically, B.I.T. operates at the intersection of classical tradition and jazz improvisation. The absence of a traditional rhythm section (bass and drums) places a significant burden on Pasqui and Di Majo to maintain momentum and structural integrity. They achieve this through a sophisticated use of ostinato figures and contrapuntal dialogues.
On the track "Brigata Menotti," named after a famous partisan unit, Pasqui utilizes a repetitive piano figure to build a sense of tension and urgency, while Di Majo’s soprano saxophone improvises with a frantic, bird-like energy. In contrast, "Miriam" showcases a more contemplative side of the duo, with the saxophone providing long, harmonic foundations for the piano’s romantic melodies. The duo’s ability to translate complex historical themes into abstract musical narratives demonstrates the enduring power of the jazz medium as a tool for social and historical commentary.
Comparative Chronology and Production Data
To understand the broader impact of these releases, it is helpful to look at the timeline and technical data associated with their production.
| Artist | Album Title | Recording Date | Location | Label |
|---|---|---|---|---|
| Lilly Hertzman | Heartshaped | April 10-11, 2023 | Rhinebeck, NY | Gateway Music |
| Gustaf Ljunggren | Along The Low Road | Various | Copenhagen/Iceland | April Records |
| B.I.T. Duo | R-Esistenze | January 2025 | Spello, Italy | Filibusta Records |
The chronology reveals a steady output of high-quality jazz across Europe and North America, with recording sessions spanning from early 2023 to early 2025. The diversity of labels—Gateway Music (Denmark), April Records (Denmark), and Filibusta Records (Italy)—highlights the strength of independent jazz publishing in the current market. These labels play a crucial role in supporting projects that might be considered too "niche" for major distributors, yet possess significant artistic merit.
Analysis of Implications for the Global Jazz Scene
The release of these three albums suggests several key trends in the modern jazz ecosystem. First, there is a clear move toward "globalized talent pools." Hertzman, a Danish/Swedish artist, traveled to New York to record with some of the most sought-after American session players. This cross-pollination enriches the music, blending different regional sensibilities into a cohesive whole.
Second, the "relaxation" or "wellness" aspect of jazz—represented by Ljunggren—is becoming increasingly prominent. As digital fatigue grows, listeners are seeking music that offers a "sauna-like" experience: immersive, calming, and connected to nature. This trend is particularly strong in Northern Europe, where the "Nordic Tone" continues to be a major export.
Finally, the work of B.I.T. reminds the industry that jazz remains a vital platform for intellectual and social discourse. By grounding their improvisations in specific historical events, Pasqui and Di Majo challenge the notion that instrumental music is inherently apolitical.
In conclusion, while Lilly Hertzman, Gustaf Ljunggren, and the B.I.T. duo operate in different stylistic realms, they share a commitment to technical excellence and emotional honesty. Whether through the powerful contemporary jazz of Heartshaped, the minimalist textures of Along The Low Road, or the historical passion of R-Esistenze, these artists are ensuring that the jazz tradition remains a dynamic and relevant force in the mid-2020s. Their work serves as a testament to the fact that good music, regardless of its origin or inspiration, requires no further justification than the quality of the sound itself.
