Ellen Andersson, Impressions of Evans Review

Bridging Bill Evans’ Genius with Nordic Sensibilities

by Sylvannia Garutch

The music of Bill Evans has left an indelible mark on jazz, not only in the United States but across the world, perhaps nowhere more significantly than in Scandinavia. Ellen Andersson’s third album, Impressions of Evans, seeks to honor this legacy while adding her voice to the mix. Drawing from Evans’ 1964 collaboration with Swedish jazz icon Monica Zetterlund on Waltz for Debby, Andersson merges Evans’ harmonic sophistication with her own modern interpretations, threading in Scandinavian folk influences to create a delicate but daring tribute.

The album features Andersson on vocals, with a tight-knit Danish trio consisting of Heine Hansen on piano, Thomas Fonnesbæk on bass, and Andreas Svendsen on drums. This core ensemble supports Andersson throughout the album, with the subtle addition of Bjarke Falgren’s strings on select tracks like ‘Jag Vet En Dejlig’ and ‘Blue In Green,’ adding a layer of romanticism and textural depth.

Andersson sets the stage with a hauntingly beautiful rendition of “Jag Vet En Dejlig,” a traditional Swedish folk song. Falgren’s romantic strings introduce the piece, allowing the listener to step into a soundscape that feels pastoral and cinematic. Hansen’s light piano figure complements Andersson’s voice, which is imbued with an ethereal quality. The entrance of Fonnesbæk and Svendsen on the second pass through the form provides subtle but significant development, anchoring the song’s folk origins in a jazz context. Their entrance adds warmth and depth, subtly transforming the song’s pastoral atmosphere into a more layered jazz context. Andersson conveys the melody with both elegance and playfulness, striking a balance that feels authentic to the folk tradition while leaning into the emotive space Evans often explored in his own work.

As one of the centerpiece tracks, Andersson’s interpretation of “Monicas Vals (Waltz for Debby)” is a key moment on the album. She stays true to the original melody, but her use of glissandos and expressive vocal falls make it uniquely hers. Her phrasing embodies Evans’ signature introspection, allowing the melody to unfold as if in conversation with silence. Fonnesbæk’s counter-melody in the bass and Svendsen’s Evans-inspired chord voicings create a subtle, yet romantic atmosphere, perfectly complementing Andersson’s soft tones. The ensemble’s use of dynamics is subtle, reflecting Evans’ own genius for making even the quietest moments sing. Andersson honors the spirit of Zetterlund’s original but also manages to bring a fresh, timeless quality to this classic.

Andersson’s version of Evans’ “Very Early” reveals her command of phrasing and harmonic sensibility. With Hansen on the Rhodes, the arrangement shifts from the usual acoustic palette, evoking a modern, beauty. Here, Andersson’s voice lingers delicately behind the beat, pulling the listener into the emotional gravity of the song. The addition of light strings and Svendsen’s bass creates a soundscape that is both sparse and immersive, inviting the listener to get lost in the reflective nature of Evans’ harmonic vision.

Many have interpreted “Summertime,” but Andersson brings a fresh, Nordic sensibility to this jazz standard. Fonnesbæk’s modern, syncopated bass line breathes new life into the harmonic foundation, combined with Svendsen’s subtle brushwork. Together, they provide the backbone, as Andersson’s playful and flirty tone transforms the song into something alluring. Her nuanced delivery, with its unexpected turns and embellishments, gives the piece a fresh energy, bridging Gershwin’s drama with the gentle undercurrents of Scandinavian lyricism.

The album’s closing track, “Blue In Green,” is an ethereal and cinematic reimagining of the Evans and Davis classic from Kind of Blue. A lo-fi effect on Andersson’s voice gives the piece an otherworldly feel before it gradually lifts, allowing her full tonal range to emerge. Hansen’s work on the Rhodes, alongside Fonnesbæk and Svendsen’s European-style swing, creates a sonic landscape that feels intimate and expansive. Svendsen’s solo is a standout moment, offering textures and colors that evolve seamlessly, supported by the trio’s remarkable interplay.

Ellen Andersson’s Impressions of Evans is an enjoyable tribute—it’s a deeply musical reflection on Evans’ lasting influence in jazz and his special connection to Scandinavian music. Andersson and her ensemble approach the material with a reverence that never feels stifling, balancing innovation with tradition. The combination of her crystalline vocals, subtle instrumentation, and the integration of Nordic folk elements make this a standout project that honors the past while pointing toward the future.