Klas Lindquist, a Swedish saxophonist, composer, and bandleader, has spent decades carving his niche in the jazz world. Drawing inspiration from legends like Johnny Hodges, Charlie Parker, and Duke Ellington, Lindquist has become a luminary in Europe’s jazz scene, blending tradition with modern flair.
Born in Gothenburg, Sweden, Lindquist’s journey to jazz prominence began at age 12 when his mother suggested he consider an instrument like the trumpet. Instead, he chose the alto saxophone—a decision that thrilled his father, who was enamored with the sounds of Johnny Hodges and Charlie Parker. “My dad went wild,” Lindquist recalls. “He showed me Hodges, Parker, and Cannonball Adderley. Alto was his dream.”
Early on, Lindquist discovered he had a talent for music, which provided him with an identity distinct from his peers who were more into sports. Lindquist’s formal musical training included a high school music major and a preparatory jazz program before embarking on a career as a full-time musician in one of Sweden’s state-sponsored big bands.
He further honed his craft at the Royal College of Music in Stockholm. By 1997, he moved to New York to attend the Manne College of Music at The New School, an experience he fondly remembers as transformative though he left before earning his degree.
“It was my best year,” he says. “Jazz felt natural there—not too arty or complicated, like it sometimes becomes in Europe.” Though his time in New York was brief, Lindquist immersed himself in jazz composition.
Returning to Sweden, Lindquist relocated to Stockholm, where he furthered his studies in composition while building his career. His ability to blend technical mastery with emotional depth earned him opportunities to perform with some of Sweden’s most celebrated jazz musicians, including Jan Lundgren and the Stockholm Swing All Stars. Over the years, Lindquist has released dozens of acclaimed albums as both a leader and a sideman and earned praise and awards from the world’s jazz press.
His nine-piece band, the Klas Lindquist Nonet, performs mainly original compositions and their 2023 album, Alternative Source of Energy, won “The Jazz Album of The Year” in Orkesterjournalen reader’s poll. He also received the prestigious “Golden Sax” award from Swedish saxophone legend Arne Domnérus, the Alice Babs Award, and Laila and Charles Gavatin Foundation Prize for Jazz Music during his nonet’s performance at the 2024 Stockholm Jazz Festival.
Over the years, he has witnessed shifts in Sweden’s extensive jazz landscape, noting a growing openness to traditional styles. “Twenty years ago, playing older jazz styles could get you labeled as conservative,” he explains. “Now, it’s becoming hip. Younger audiences love it.”
This renewed interest in classic jazz is evident in Lindquist’s performances, often held in Stockholm’s vibrant nightclubs, where crowds revel in his renditions of traditional jazz tunes on the alto or clarinet. “It feels like the old days,” he says.
For Lindquist, developing his voice on the alto saxophone has been an organic process. “I’ve never consciously tried to create a sound,” he says. “It’s grown naturally through listening.” His admiration for Duke Ellington’s compositions, both his early work and his suites, has influenced his approach, especially on larger projects.
His latest album, Handle With Care, is a testament to his artistry. Produced by pianist and singer Champian Fulton—her first outside of her own records—the album showcases Lindquist’s lyrical phrasing and mastery of the alto sax. Though conceived as a ballad album, it incorporates a range of tempos and moods. Recorded in a Swedish church added depth to the sound, it highlights the warmth and nuance of Lindquist’s playing.
The seeds of the collaboration with Fulton were planted at the Copenhagen Jazz Festival, where the two artists discussed the possibility of working together. Fulton immediately saw the potential for Lindquist to shine in a more intimate context.
“Klas needed to record with a small group,” Fulton explained to The Syncopated Times. “When you are an indie musician, it can be hard to do it all by yourself. We both went out on a limb with the project.”
The two collaborated on what songs to include, guided by a desire to create an album with a “mellow vibe—the kind of record you put on after dinner,” according to Fulton. The track list includes beloved standards like “Man with the Horn” and “Cry Me a River,” alongside Lindquist’s original composition, “Bernadette.”
Balancing original work with timeless standards posed a challenge, but Fulton believed “Bernadette” added depth and individuality to the project. “It can be intimidating to put your original pieces side-by-side with well-known, beloved standards,” she acknowledged. Yet the piece holds its own, showcasing Lindquist’s talents as both a composer and performer.
Fulton also praised Lindquist for championing the alto saxophone, which she feels is underrepresented in today’s jazz landscape. “I think for whatever reason, we have so many tenor sax players today and not so many altoists. I love Charlie Parker and the late Lou Donaldson, who was one of my closest friends. The jazz world deserves to hear more alto players,” she said.
One of the biggest notes Fulton gave Lindquist was to “stretch out” on his solos and bring his saxophone to the forefront. “She pushed me to make the alto sing, treating it like a voice,” he explains. Her influence is evident in the album’s intimate sound staging, where Lindquist’s saxophone takes center stage.
The album’s production process was as unconventional as it was meticulous. Fulton wasn’t physically present for the sessions and listened to the session after the fact. “It had its pros and cons,” she shared. “By being remote, I could really listen, which made it easier to give feedback. When you are in the studio, it can be stressful and everyone is full of emotions.”
Lindquist and his band returned to the church a second time to incorporate her suggestions, ensuring a polished and cohesive final product. The church’s setting also provided an organic acoustic quality that suited Fulton’s vision for the album.
She drew inspiration from Cannonball Adderley’s 1959 classic Cannonball Adderley Quintet in Chicago on Mercury Records. “I wanted it to have that sound where the alto saxophone stands out in front of the band, recorded without isolation and with little compression to give it that classic feel,” she said.
Lindquist continues to embrace the duality of honoring tradition while forging new paths. His work resonates with both seasoned jazz aficionados and younger audiences discovering the genre. “For young people, this old music feels brand new,” he observes.
Looking ahead, Lindquist shows no signs of slowing down. His collaborations with artists like Fulton, as well as his ongoing work as a composer and bandleader demonstrate his commitment to evolving as an artist.
For Fulton, she is planning a nonet project for her 20th album in partnership with Lindquist. They expect to record it in the Fall with a release date in 2026. Audiences can hear some of their new charts for the album at the Fasching jazz club in Stockholm and in New York City sometime in 2025.
As Lindquist continues to Champian the alto saxophone and explore new creative horizons, he solidifies his place as one of the most compelling figures in jazz whether playing classics like “Tea for Two” or composing modern jazz originals.
Klas Lindquist’s new album, Handle With Care, is available now on all major platforms. His website is www.klaslindquist.com. And, on May 2nd, Lindquist and Fulton will release a duets album on Turtle Bay Records.(turtlebayrecords.com).
