LASSE LINDGREN works as a jazz musician, trumpet player, composer, rehearsal leader, bandleader and lecturer.
Ever since Louis Armstrong’s unique trumpet voice captured my ear at the age of five, I have tried in different ways to express myself with my own individual voice on the trumpet, an instrument I was given at the age of eight.
I was born in 1962 in Gothenburg, Sweden. I studied at the music departments of the high schools of Ljungskile 1980–81 and Ingesund 1981–83 and at the Royal College of Music in Stockholm 1984–86.
Lasse Lindgren worked busily as a freelance jazz-and-lead trumpeter during his years as a music student and in the years following during the ‘80s when he lived in Stockholm. The first band under Lasse’s own leadership was called “Outfront” and this was followed by another that among its activities toured with valve-trombonist and composer Bob Brookmeyer.
Lasse then started a family and moved to Sandviken, working as jazz-and-lead trumpeter with Sandviken Big Band 1989–1997. He also performed in the same role with Bohuslän Big Band 1991–1997 and in the following years with the Danish Radio Big Band (later “Jazz Orchestra”) 1997–2000.
In recent years he has diversified and let go of the world of employment in order to pursue his more personal dreams. The Lasse Lindgren Constellations come in a wide variety of settings and possibilities.
Lasse Lindgren Constellations as a concept was formed in 2001 in Gothenburg and consists of the best possible players within the jazz fraternity.
Members are individual, original soloists and ensemble musicians with the highest of aspirations to be part of a creative synergy. Lasse’s powerhouse trumpet sets the tone of the proceedings.
The Constellations are flexible ensambles created to conform to the requirements from the music to be played. But at times Lasse has also been known to lead existing bands, working in concert to raise the group to a whole new level.
My trumpet mouthpiece is originally a Giardinelli 6c, which I have played for the last 20 years. But afterwards Magnus Klahr at Windcorp in Gothenburg has developed it to something new. Magnus is a great person who is crazy about trumpet mouthpieces! And for that reason all we trumpet players in Gothenburg are, of course, very glad
My First Trumpet
My first trumpet was of the American brand CONN. Now I have once again got a Conn.
This time a Conn CONSTELLATION – and not any old horn – I have been given by Maynard Ferguson’s earlier manager, Ernie Garside, the great honour of possessing Ferguson’s old trumpet. It is the one he used from the end of the 50s up until 1967. It is of course a fantastic feeling to play this rarity that has been lying unplayed for forty years and is in very good condition, despite its age of fifty-or-so years and an infinite number of high C’s from Maynard’s lips.
Ever since, at the age of 5, I heard Louis Armstrong’s wonderful trumpet sing out from my grandmother’s transistor radio, I have loved the beautiful sound of the trumpet. When later on, at the age of nine, I was given the first trumpet of my own and began to play, I knew somehow inside of me how my tone, my trumpet voice would sound.
I have owned and tried many different trumpets and mouthpieces but for many years have never been completely satisfied. I have continually sought after an instrument that can help me to express the musical ideas that I have inside of me. Such a trumpet should have a dark, full tone, be flexible, give me the possibility to colour the sound to the way I want to express myself and at the same time be open, and have an even quality and power in all registers. I should be able to play extremely softly and low just as well as maximally loud and high when the music demands it, without losing any quality of sound, feeling and musical colour.
Not Only Trumpets
When I was an eight-year-old, because of my fascination for Louis Armstrong, I began to play the trumpet. But I had another idol and that was Glenn Miller. My plan was to also play the trombone, but I must wait until I was 15 when my arms would be long enough to be able to reach all the positions with the slide.
Now at the age of 45 I have long enough arms and I still want to play the trombone but I am too lazy to start with the slide trombone. So instead I have a new dear friend, an old Conn 6H valve-trombone from 1957, it’s a beauty, with a wonderful fat, bluesy sound and I will be using it a lot in the future.