While many musicians will cite certain individuals as their main influences, Lisa Ullen, the Swedish pianist, believes that a specific community had one of her strongest influences on her art. She is one of Stockholm’s most skilled, versatile, and probing musicians. These qualities have enabled her to thrive in all types of settings, including free improvisation or theater. And she says that meeting members of Fylkingen, an artist-run space, was key to her creative growth. Ullen, 53, said that she has met many musicians, composers and artists through Fylkingen over the years. I have listened to some of the most amazing concerts in my entire life at Fylkingen. “I also heard Sten Sandell, a pianist, who was a very important friend and colleague.” Her path has taken her to many different places and has led her to a variety of approaches and contexts. Although Sandell is well-known as a daring, steely improviser, her work goes in many other directions much like Fylkingen’s eclectic programming. Born in South Korea, she was adopted at the age of four by Swedish parents. They lived in Ornskoldsvik in northern Sweden. A few years later, she began piano lessons after following the advice of a friend. Ullen was a voracious listener to pop music, but her training allowed her to study classical music at The Royal College of Music. She graduated in 1991. Ullen’s curiosity drove her to think outside the box even before that. She said, “My classical training is important in the way that I listen to details, and I think, but jazz, improvisation, and experimental music are much more appealing to me.” I am particularly interested in exploring the potential of the piano regardless of its genre. “At some level, it is always about the instrument’s capabilities and your goals for the music.” Her ambitious 3-album set Piano Works (Disorder), clearly reflects this thinking. She mixes compositional ideas with rigourous improvisation, sometimes with preparations on the keyboard. You could either call them composed improvisations or spontaneous compositions in that they have a soundscape or rhythm when I start playing. She said that it was always a question as to how the piece would be accomplished. It can’t happen twice.” The road to the latest opus was a twisty one, with many turns and periods of time away from the scene while raising three children. She began her career as an accompanist in classical music, performing at church concerts and dance classes. It wasn’t until the mid-’00s that she became a regular presence on the international stage, issuing records, and touring the world. Ullen, who has released over a dozen albums, was a leader or co-leader. She worked with an international cast that included Nina de Heney from Sweden, Okkyung Lee from Korea, Torsten Muller from Canada, and Charlotte Hug, a Swiss violist. Ullen is still a key member of many working bands, including Festen and Anna Hogberg’s Attack. Her music ranges between abstract free improvisation and driving post-bop. Ullen continues to create a repertoire of compositions for contemporary classical music, theater and dance, as well as curating experimental and improvised music festivals in Stockholm. However, she said that her range is not a result of conscious effort. Ullen stated, “I trust my instinct” and that she would join a collaboration if it was possible to contribute something. As long as there is a strong energy and an interest in the musical idea, Ullen agreed. There’s no plan. Ullen explained that this approach is a reflection of her belief that improvisation goes beyond a technique. It’s also a way to think and create. From https://downbeat.com: “It’s about thinking concretely in musical music, not just talking about it.”
