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Electro club in Piteå

A completely packed party night 110 percent dedicated to electro music and CSN's blessed arrival.
The electro band ME & SKINNY JOON flies up from Stockholm to brighten the night - We take everyday poetic moments out into stormy seas of monotonous, pulsating synths. Low-key cinematic pop at its best.

Heavy electro rhythms from the bass speakers, live bands and glow sticks. Probably can't get any better. See you at Kårhuset!

Kårhuset in Piteå
29th November
At 22.00-02.00
Entrance price: SEK 30, SEK 20 for corps members. Gold card = free. IMPRA members = free.
Band on stage 11.30pm

18 years - Valid ID

ATTENTION! This event is open to the PUBLIC. No LTU card is needed to enter. This also means that no guest game is needed to bring friends. Everyone is welcome!
Artistic freedom, quality or chance – what prevents art from becoming equal? Seminar with Vanja Hermele in Malmö

Impra and the artistic faculty in Malmö organize a seminar with Vanja Hermele on Wednesday, November 27 at 4:30 pm in the Red Room at the Inter Arts center, on Bergsgatan, in Malmö.

Artistic freedom, quality or chance – what prevents art from becoming equal?

Vanja Hermele is a gender researcher and writer with experience of feminist work in the cultural field. In her lecture, she goes through the arguments and ideas that prevent art from achieving its full potential. The conclusions in are based on her various publications on film, stage and visual arts.

The lecture is about 1.5 hours, including time for questions. After a break, the seminar continues with a panel discussion between Vanja Hermele and representatives from Impra and the art colleges in Malmö.

The lecture is only open to Impra members and staff as well as students at the Faculty of Arts in Malmö. Become a member here .
Outrageous post about the state of jazz education in Sweden

"Lisa Lundström" tells about what it's like to be a woman and a vocalist at one of Sweden's most respected jazz folk colleges; about not being counted, being silenced and finally losing their voice.
Few women apply to the jazz courses - chairman Gunilla Törnfeldt answers and clarifies
IMPRA's chairwoman Gunilla Törnfeldt was interviewed the other week regarding Kulturnytt's review of the number of applicants for music education programs with a jazz focus at the country's universities. The feature can be found here.
It was a roughly ten minute long interview that was cut down to a few quotes and Berit Nygren then commented on this. Gunilla responds here to Berit Nygren's comment and clarifies her own position as the picture given in the feature is a bit unvarnished.
After working with the association IMPRA for seven years, being a pupil, student and finally now a teacher in jazz courses at both high school, folk high school and university and writing a C thesis on Gender in jazz teaching (KMH, 2008), I consider myself to have a great overview and insight into the mechanisms that may lie behind the low number of female instrumentalists on the courses. The journalist Berit Nygren partly makes incorrect assumptions about what she thinks I mean by my statements, partly she lacks experience and knowledge from the educational system and lacks a musician's perspective, and therefore her comment is unfortunately superficial, only from a media point of view and is sometimes downright incorrect.
Choosing to become a musician is a complex chain of influences and stimulation of an individual's interests. Role models are part of this and was one of all the reasons I highlighted in the ten-minute long interview with Kulturnytt's reporter, but became the main reason highlighted in the feature, which is why this is also what I will dwell on the most.
Berit Nygren wanted to emphasize that it is the personal expression in jazz that is important, not one or the other gender - as if there would be a contradiction in that and talking about justice in the number of active men and women. Among other things, I said in the interview, which was not included in the feature, that there are those who believe that there is a female and male tone of voice and there are those who believe that it does not, but I did not say what I thought and I believe that it is not relevant either. The point is that regardless of whether it is so or not, or whether you think so or not, it is an aspect of justice if women's thoughts or feelings are not expressed in music to the same extent. Not because they are specifically women, but because there can be interesting individuals among the large part of the population who happen to be female and who can actually be overlooked during upbringing and above all during the course of education.
Berit Nygren is also not sure about the lack of female role models. She believes that there have long been female jazz instrumentalists with an increase in recent years and especially that many more have now been exposed much more than before.
She is right that we have seen and are seeing increased exposure of female musicians, especially in the last five years and no one but us at IMPRA is happier about that! Just look at the Stockholm Jazz Festival's program this year! We see it as a receipt for our work and are extremely proud of it, it is a big and important step in the right direction. But even if it is so and those musicians in recent years have succeeded, and are now succeeding, in reaching curious young girls in their teens, let's say between 13-18 years and there to arouse an interest, it will still take at least 5- Another 10 years before we can possibly notice any difference in the number of female instrumentalists on the courses and, by extension, above all in music life. Changes take time, which Berit was also aware of.
But then, how does Berit Nygren know that these women who are now coming forward and being exposed really reach the young girls who need to see them? The jazz world in Sweden is a small duck pond and even if it is written about female musicians in OJ or Lira or in daily newspapers or if there are more female musicians playing at clubs and festivals around Sweden (which is of course fun and good!) it is still further another step towards really reaching the young aspiring musicians. This of course applies to both girls and boys and if we draw a parallel to the regrowth of jazz musicians and jazz audiences in general.
In order for a young aspiring musician to be exposed to a potential role model at all, you need to have someone close to you who encourages and shows them, most people do not discover them on their own and then we come to the music teachers, family and relatives, gender roles and the word identification. Identification in a deeper sense. The music teachers are the ones who can really show the existence of role models, either by presenting them or why not being one yourself. It is, for example, only at the Academy of Music in Malmö that they have employed half women and half men as ensemble teachers, and there we can also see a much more even gender distribution among the students.
In addition, if it is now the instrumentalists who are primarily being commented on, then Kulturnytt should report separate figures for that, in the figures on the page with the feature, the vocalists are included in the number of women and they are in a crushing majority, which unfortunately makes the figures completely misleading in the context. They also do not comment on the lack of male vocalists, where the problem picture is the same but with a reversed distribution.
Finally, it goes without saying that you get attached to a musician because he has an interesting tone of voice or an expression that appeals to you. I said nothing about the opposite, which Berit Nygren wrongly seems to take for granted. However, what I have been able to see when I have worked with children and young people and when I discuss these issues with teaching colleagues and other female musicians is that it is something special when that role model – with tone and expression you are addressed by – is the same gender as yourself. You can see yourself doing what your role model does on a deeper and more obvious level - "I could do that too".
Other factors that are of great importance and which I touched on most quickly above are the teachers' methodology and pedagogy as well as encouragement from family and relatives. However, developing the interaction between these areas may become another debate in another forum.
- Gunilla Törnfeldt, 11 October 2013
If you want to see and hear good music being played and, among other things, be exposed to a bunch of great role models (both men and women) and fantastic musicians, you are therefore warmly welcome to go to the Stockholm Jazz Festival, especially IMPRA's own club Lupino Live on October 16 at the Kägelbanan when can hear The Tiny and the Norwegian band Sommerfuglfisk! For more info see
Hope to see you there!
Få kvinnor söker till jazzutbildningarna. -Varför det då?, undrar SRs Kulturnytt

Among other things, IMPRA's chairman Gunilla Törnfeldt speaks out in Kulturnytt on 7 October - the news is spread through TT.

RIP Laurie Frink – ”the trumpet mother of jazz”

American trumpeter Laurie Frink, a musician and brass teacher of great importance, died on July 13 at his home in Manhattan, NY. The cause was cancer of the bile duct. She turned 61.

Laurie Frink was a warm personality with a great deal of humor. Her teaching was a further development of Carmine Caruso's method for building embouchure. She combined a great understanding of the instrument and its physical conditions, with a personal teaching adapted to each student's difficulties, conditions and goals. She was called "The Trumpet Mother" because she taught and helped so many musicians, at all levels. Musicians from all over the world testify to the importance she had for their career choices, and how she helped them in moments when difficulties arose.

"She took each musician and figured out what was causing the problem - then she did it herself, so she could come up with a solution." says famed trumpeter Dave Douglas, who sought out Laurie Frink when he had embouchure problems in the early '90s. Meeting her, he says, "was like a combination of therapy, gym instruction and music lessons."

Together with trumpeter John McNeil, she wrote the book "Flexus: Trumpet Calisthenics for the Modern Improvisor".

In addition to giving private lessons to a large number of students from around the world, she also taught at New York University, The New School, Manhattan School of Music, and the New England Conservatory.

As a trumpeter, she belonged to the top echelon of New York's professional world. She worked repeatedly on Broadway and played with big bands such as the Benny Goodman Orchestra, the Mel Lewis Orchestra and Gerry Mulligan's Concert Jazz Band, where she often played lead.

She is on every album by Maria Schneider. "When I wrote these subtle inner voices, I always gave them to her," says Maria Schneider. "I knew she would play them with sensitivity and empathy."

Laurie Frink also worked in later years with other critically acclaimed big bands, including the John Hollenbeck Large Ensemble, Darcy James Argue's Secret Society and Ryan Truesdell's Gil Evans Project.

I got to know her about 35 years ago, when I came to New York for the first time. Seeing her play lead was a great experience, and had a defining meaning for me personally. At a time when few female instrumentalists were visible on the big stages, she was an example and a role model. She showed the way.

She was a wonderful, warm and lively person, and I still often think about the things she said when we met so many years ago.

Today, she is mourned by countless friends, musicians and students all over the world.

Ann-Sofi Söderqvist

Member offer: Free entry to David's Angels + network meeting at Fasching 17/4

On Wednesday 17/4, David's Angels will celebrate their new album release by giving a release concert at Jazzklubb Fasching in Stockholm. All Impra members get in for free, send an email with your name to ost[a] no later than 16/4 and you will end up on the guest list and get in for free.

In addition, IMPRA Öst invites you to a networking meeting/mingling at Fasching before the concert. At 18:30 we meet, and all members are welcome. At the network meeting, there is an opportunity to meet other members and discuss future Impra activities. If you want to come, this is also reported to ost[a]

For more information about the concert see:

Member offer: Susanna Lindeborg's Mendo Dawa, Fasching 3 April

IMPRA members are offered a place on the guest list at Susanna Lindeborg's concert with Mendo Dawa at Fasching April 3! Send an email with your name to ordforande[a] no later than Wednesday, April 3 at 12 noon, and you will be added to the list and enter for free!

New board elected at the annual meeting

At the annual meeting on March 17, 2013, the following board was elected:

Chairman: Gunilla Törnfeldt ordforande(a)
Vice Chairman: Almaz Yebio vice chairman(a)
Treasurer: Lisa Knudsen
Secretary: Lisa Grotherus

Max Thornberg (regional representative East)
Johanna Nordström (region representative West)
Ida Karlsson (regional representative South)
Louise Nordgren (regional representative North)
Biggi Vinkeloe (deputy)
Lina Nyberg (deputy)

As you can see, there are some familiar names and some new ones. We welcome Gunilla Törnfeldt back as chairman, and welcome Almaz Yebio and Ida Karlsson who are new to the board. In addition, Lina Nyberg and Biggi Vinkeloe, who have both sat on the board before, are back. Outgoing board members Anna Lundqvist, Carolina Wallin Perez, Elin Hörberg and Joakim Milder deserve a big thank you for their work for Impra.

Eva Engdahl – Sweden's first female jazz pianist

Article about pianist Eva Engdahl by Rebecca Linder from Annonsbladet Dalarna. Published with permission from the article author. Eva Engdahl was chosen together with bassist Harriet Sjösten as Honorary members of Impra 2012!

New scene in Gothenburg - PALMARUM

PALMARUM is music and performing arts in one and the same evening! A brand new scene in Gothenburg that takes place in Palmhuset, the core of the Garden Association. On 15/3 there is a premiere with music by none other than MIDAIRCONDO and stage art by and with Celia Berndtzen. Free entrance!

Read more here:

The Skurup Festival

IMPRA members are welcome to attend Skurupfestivalen 2013 for free!

LIRA highlights the women in the new issue - out now!

The music magazine Lira writes in its latest issue about only female musicians. This is how Karin writes at Lira about why they chose to do this:

"So: If you add up the number of women applying for the instrument electric guitar to the jazz courses at the music colleges in Gothenburg, Malmö and Stockholm last year, you come up with... 6!!! Respectively 124 men. Of the drummers, there were 6 out of 117. And of the applicant trombonists, not a single woman was!!!
Probably because we suspected even before the research for the report that it would be a very skewed distribution, but this skewed?!? How long will it be before it feels as "feminine" to my 1.5-year-old niece Ellen and her girl friends at kindergarten to bang on the drum set and blow headphones as it does to mime Loreen or take piano lessons?
Personally, I am convinced that it matters. If every Swedish girl had compulsory drum set lessons between the ages of 8 and 10, I'm sure the eternal wage gap between women and men would quickly shrink significantly. /Karin or

read more here

Pulsslagsfesten 2013 

Tonight we can tell you about the following events that will take place at Fasching in Stockholm. As an Impra member, you enter for free (and can bring a friend). Email to get on the guest list.

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