Inside Yttling Jazz: Björn Yttling on Freedom, Process, and Staying Honest

Illegal Hit Expands — Out of Bounds

Yttling Jazz is a project from Björn Yttling, built as an open, collaborative space where jazz, pop, and experimental ideas move freely between solo recordings and larger ensemble sessions.

The album Illegal Hit was released in 2025, and the project now returns with an expanded edition, introducing a new run of collaborative songs including “Distant Star,” featuring Yukimi Nagano of Little Dragon. The track leans into Yttling’s cinematic approach to jazz, folding in alt-pop textures to create something that feels new without losing its depth, while giving space for Yukimi’s unmistakable vocal to anchor it.

Released March 27, Illegal Hit — Out of Bounds expands the original into a three-disc project: the 2025 album, a second disc of new material, and a third built around reinterpretations and collaborations. Many of these additions were originally shortened or left off to preserve the flow of the first release — now fully realized as part of the broader vision.

That approach reflects the core of Yttling Jazz — intentionally open-ended and collaborative. As Yttling puts it, he’ll often start with a loose idea and then “try to think if I know anyone nice that would fit in. Usually I do.” It’s a process grounded in real relationships.

There’s also a clear emphasis on keeping things human. Much of the record leans on live studio sessions — capturing performances in real time, where, as Yttling notes, “you really can’t hide.” That tension between precision and spontaneity runs throughout Out of Bounds, giving the project a sense of movement and unpredictability.

“Distant Star” is one of several singles tied to the expanded edition, alongside “Strange,” featuring Bobby Gillespie of Primal Scream. Across it all, Yttling continues to draw from classic jazz language while pushing into something more fluid and contemporary — dynamic and quietly confident.

We caught up with Björn Yttling for this edition of Nice To Meet You.

Thanks for taking the time. You’ve been making music for a long time, across different projects — what pulled you into starting Yttling Jazz?

Well, when I started in 2005 I had played a couple gigs under different names like Björn Yttling Quintet and so on. But creating the name Yttling Jazz made it more free. I could use different setups and make everything from solo pieces to bigger sessions featuring many players. Starting over again after 20 years was quite easy as I approached a lot of my friends that played on the first album.

Do you remember when Yttling Jazz first started to feel like its own thing?

Usually when you get your music in your hand on vinyl it feels real to me. And getting the new album on vinyl and playing a show in Stockholm for around 750 people in September definitely made it feel like its own thing.

You’ve spent years shaping other artists’ records — what changed when you focused fully on your own ideas here?

Well, it’s a lot of responsibility to be your own boss, and it’s different not having the opportunity to bounce ideas with another person. Also, you’re solely responsible for creating a vision and staying true to what you’re trying to do.

There are a lot of collaborators across this record. What makes you want to bring someone into your world?

I usually have an idea of what kind of song I want to make and then I try to think if I know anyone nice that would fit in. Usually I do.

What’s something you’ve done recently that you’re proud of?

I think getting so many different folks out to our concerts is really cool. The age span is very spread out, which feels amazing. Some people in the crowd have seen hundreds of jazz concerts, and for some of them it’s their first.

The bass playing on Illegal Hit is so good — did you know Dan Berglund from back in the day?

Yeah, I’ve known Dan for almost 30 years actually. We played together on some records back in the day. He’s as great as ever. Crazy good musician and a down-to-earth guy.

How did you connect with Sometimes Always for the album cover?

They had done some really neat stuff for the label before, so it was a no-brainer when I got the opportunity.

What’s the biggest challenge you’re navigating right now with this project — and what’s helping you push through it?

Right now I’m in the process of trying new things for the next album. I just need time, really, to figure it out, but sometimes it’s tempting to take some shortcuts that usually won’t work in the end. But it’s very important to be honest with yourself and to not make music for anyone else.

You’re heading back to Coachella with Lykke Li — what does that return feel like for you?

Looking forward to it a lot! Been a while since I played there and it’s always a fun hang, and also it’s the live premiere for the new album Lykke and I worked on for such a long time. So it’s exciting for sure.

In a world that can feel increasingly artificial, what’s feeling real to you?

I think recording live with a lot of great musicians in a studio like the Ingrid Studio in Stockholm is very real. You really can’t hide, and you’re sort of tucked away so no one can tell you what is right or wrong.

We’ve read that Charles Mingus and Brian Eno have been influences — are there specific records from each that you keep coming back to?

Tijuana Moods from Mingus and Here Come the Warm Jets by Eno. Both records have a lot of ideas and still feel super fresh to this day.

If someone is discovering Yttling Jazz for the first time, where should they start — and why?

Hard to know, but I’m not against listening to a couple of intros and seeing what sticks. I think we have some cool intros, so hopefully something will stick for you. If you only have time for one song, listen to "Sodon the Mountain Man." It’s cool — no one can disagree, I think.

Follow Yttling Jazz on IG at @yttlingjazz | https://yttlingjazz.com

Photo Credit: Henry Moore Selder (Body) | Fredrik Bengtsson (Main)