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Norwegian drummer Jon Christensen (1943–2020) was one of the most influential musicians in the contemporary jazz scene, contributing to over 70 recordings for the ECM label. Drawing on Deleuze and Guattari’s concepts of ‘territorialization’ and ‘deterritorialization’, and M.M. Bakhtin’s notion of the ‘chronotope’, this article outlines a map of Christensen’s musical experiences in the 1960s. Particular weight is accorded to the interplay between Christensen and other influential musicians such as Dexter Gordon, Bud Powell, George Russell, Don Cherry, Jan Garbarek, Zbigniew Namysłowski, Steve Kuhn, Stan Getz, Sonny Rollins, and others. Through dialogic encounter, the aim is to highlight Christensen’s own musical perspectives and worldview, in relation to current notions of jazz historiography. Hence, the approach is biographical as well as anthropological. Central to Christensen’s musical considerations were concepts of ‘sound’ and ‘listening’. While much academic and journalistic literature seems to focus on notions of nationalities and/or European or American jazz identities, taking a closer look at the heterogeneity of Christensen’s musical connections in the 1960s brings forth a more diversified and musically detailed roadmap than that offered by reified categories such as ‘Nordic jazz’ or the ‘Nordic tone’.

«Keeping time» vs. «making time»: Jon Christensen(1943–2020)