Album Review: "I've Found A New Baby / Farewell Blues" by Thore Jederby's Septett
Alright, let’s get into this little gem from way back in 1940. Sweden might not be the first place you think of when it comes to swing jazz, but man, Thore Jederby’s Septett proves that good music doesn’t care about borders. Released on Scala Records, this album is a tight two-track ride—no fluff, just pure jazz vibes. And lemme tell ya, these cats knew how to swing.
First up, “Farewell Blues.” This one grabs you right away with its punchy trumpet lines courtesy of Gösta Törner. It’s got that bittersweet kinda feel where you’re not sure if you wanna dance or sit down with a whiskey and brood. The rhythm section—Thore Jederby on bass and Åke Brandes on drums—keeps things grounded while Sven Stiberg adds some slick electric guitar licks that sound like they’re straight outta a smoky club downtown. I remember this track because it feels like saying goodbye to something you didn’t realize you loved until it was gone. You know what I mean? Like forgetting your favorite jacket at a party and realizing too late it made all your outfits pop.
Then there’s “I’ve Found A New Baby,” which flips the mood entirely. It’s upbeat, playful, almost cheeky. John Björling’s clarinet work here is worth writing home about—it zips around like it can’t sit still, and honestly, neither could I when I first heard it. Folke Eriksberg’s guitar strumming lays down this warm groove that makes you wanna tap your feet even if you’re sitting down. G. Teselius on tenor sax chimes in with those smooth, buttery notes that just melt into your ears. What sticks with me about this tune is how happy it sounds without trying too hard. It’s like finding twenty bucks in an old jacket pocket—you didn’t expect it, but damn does it make your day better.
One thing that stands out about this whole record is how tight the band is. These guys weren’t messing around. They played together like they’d been jamming in basements for years, passing bottles of soda (or maybe something stronger) between takes. It’s rare to hear such chemistry, especially for a small Swedish group during wartime.
Reflecting on this album, it kinda blows my mind how timeless it feels. Listening to these tracks now, decades later, it’s wild to think people were cutting loose to this stuff in Sweden while the world was falling apart elsewhere. Makes me wonder what kind of stories these songs carried for folks back then. Did someone fall in love hearing “I’ve Found A New Baby”? Did “Farewell Blues” help someone grieve?
Oh, and here’s the kicker—I bet none of these musicians ever imagined their music would end up being talked about nearly a century later. Hell, maybe they were just happy to have a gig and pay rent. Goes to show, art has a funny way of sticking around long after we’re gone. So yeah, give this one a spin if you dig classic swing jazz. Trust me, it’s worth it.
