Hans Olding Quartet

(In English, email me for Swedish or French versions.)

HANS OLDING QUARTET has toured and played Northern Europe since the start in 2001. The group consists of four of its generation’s most hard working musicians in Sweden. During the years together they’ve developed a modern, acoustic sound with strong original compositions as a springboard to further improvisations. The Quartet received very good press for their debut album ”NO SPACE” (El Dingo/Border) where new music is mixed with the repertoire that the group has gathered throughout the years. The follow up “NO PLACE LIKE HOME” was released in February 2011. In 2010 and 2014 they made an acclaimed tours in Spain. Melodic, hard swinging, contemporary jazz with one foot in the tradition, the other in our time and with the aim steadily fixed into the future!

Hans Olding is one of Sweden’s most active and acclaimed jazz guitarists/composers. He has been heard on stages around Europe and the rest of the world during the last ten years. Well-known musicians he has played with includes; Daniel Humair (FRA), Francesco Bearzatti (ITA), Mikko Innanen (FIN), Karl-Martin Almqvist (SWE), and many others. He has also received numerous grants for performance and composition.

Linus Lindblom, saxophone, is one of the clearest sounding voices on the Swedish jazz scene today and has been awarded the Swedish National Radio’s jazz price as ”Newcomer of the year” as well as recieving a compositional grant from the Bert Levin Foundation in 2014. He’s a highly personal musician with a lyrical and energetic sound.

Pär-Ola Landin, bass, can be heard on several recordings and on scenes around Sweden in different well-established bands. He’s one of the most ‘in demand’ bass players of his generation in Sweden and has a long list of merits. He’s a thoroughly musical bassist with a rare drive and lots of experience from touring all over the world.

Chris Montgomery, drums, is probably the strongest and most exciting drummer emerging from the Swedish west coast. He is one of his generation’s biggest talents, playing regularly with top creative Swedish jazz groups all over Europe. Singers, Rigmor Gustafsson and Jeanette Lindström, as well as master bass player Palle Danielsson are some of his recent employers.

Selected reviews of our first album ”No Space” (El Dingo Records/Border):

Olding’s playing and writing is solid on every tune, which were all composed and arranged by the versatile guitarist. While he is firmly rooted in the modern jazz guitar sound, especially with his voicings, tone, and harmonic choices, there is also a strong bop sensibility during his solos. Whether or not this comes out through a study of the tradition, or in the second-hand absorption of modern players like Scofield and Rosenwinkel, it adds a second layer of diversity to every solo and melody line he plays. Aside from contributing as a highly creative soloist, Olding also possesses a chord vocabulary and sense of harmony that would leave many seasoned players in his wake. His use of nontraditional fingerings and arpeggiation, where others would strum or pluck, brings a personal touch to every chord and progression he plays, which only adds to the intensity of the soloist playing with him.[…] The ensemble that Olding has assembled for this recording does a superb job of interpreting the guitarist’s compositions while interjecting their own voices into the mix. The rhythm section of Landin and Voegler play together as if they were one instrument. Their ability to lay down tight grooves while interacting with the melody and comping instruments keeps the energy flowing […] No Space is a strong outing for the Olding. It is a showcase for his strong compositional and arranging techniques, as well as his ability to lead an ensemble by example in every note he plays.” (4,5/5) Matthew Warnock – All About Jazz, US

“Guitar player Hans Olding has a continental energy combined with a cool, a bit severe attitude. The address has simplicity with clear arrangements and a main thread, which makes it easy to follow the music and stay focused. Olding’s guitar and Linus Lindblom’s saxophone carries the melody in a rhythmically clean-cut and varied interplay together with bass player Pär-Ola Landin and drummer Sebastian Voegler.” (5/6) Ingrid Strömdahl, Svenska Dagbladet (Sweden’s 2nd biggest Daily)

“The group is an excellent example of where the young modern jazz is at right now. They have accomplished their own sound where the guitar and the saxophone lay out a soft web of sound on top of the walking bass line and the reflective drumming. The beautiful guitar really stands on its own. Olding moves around lyrically with a strong feeling for melody. […] A curious listener shouldn’t walk by Olding’s gang which really is one of the most interesting new additions to the scene from the last couple of years.” (7/10) Göran Olson – DIG jazz (Sweden’s leading web based jazz magazine)

Especially Olding’s feeling for creating moods by means of subtle chords in combination, with or in contrast to, pulsative melodies – violent at moments, is impressive. […] This balanced, swinging album illustrates thus that contemporary quality jazz does not have to be, by definition, difficult or grandiloquent.” (7/10) Filip Martens, Kwadratuur, Belgium

“The best photographies are not those who tell us about the object, but those who tell us something about the photographer. That’s an art that not everyone is blessed with. Swedish guitarist Hans Olding is a relatively young man and the sound of No Space honors that with its spring like, vital sound. Full of energy and hope.” puls.no (Norway’s leading music webzine)

“It can hardly be better than this — nice guitar based jazz with plenty of room for a sweet sounding saxophone.” (5/5) Lennart Götesson – Dala-demokraten (local Swedish Daily)

“Guitar player Hans Olding has a cocky quartet. When other jazz constellations, a bit safe, let the standard repertoire provide the material for improvisations Olding and his men – Linus Lindblom, tenor sax, Pär-Ola Landin, bass, Sebastian Voegler, drums – stretch their backs and uses the leader’s original compositions, well aware of their strength. The final result is more than likable with an acoustic, a bit dry sound that never scratches the eardrum, but nevertheless never allows the listener to lose focus. Also, everything is swinging with finesse and intensity, free from irritating frippery. Very good!” (4/5) Björn Stefansson – Värmlands Folkblad (local Swedish Daily)