bleak version of "You Are My Sunshine" on The Outer View (1962) is highly regarded). Europe In 1964, Russell, who as a half black man was dismayed by race relations in the United States, moved to Scandinavia. He toured Europe with his sextet and lived in Scandinavia for five years, teaching at Lund University. In 1966, he was part of the first Pori Jazz festival. Through the early 1970s, Russell did most of his work in Norway and Sweden. He played there with young musicians who would go on to international fame: guitarist Terje Rypdal, saxophonist Jan Garbarek and drummer Jon Christensen. This Scandinavian period also provided opportunities to write for larger groupings, and Russell's larger-scale compositions of this time pursue his idea of "vertical form", which he described as "layers or strata of divergent modes of rhythmic behaviour". The Electronic Sonata for Souls Loved by Nature, commissioned by Bosse Broberg of Swedish Radio for the Radio Orchestra, was first recorded in 1968, as an extended work recorded with electronic tape. It continued Russell's continuing exploration of new approaches and new instrumentation. Russell returned to America in 1969, when Gunther Schuller assumed the presidency of the New England Conservatory of Music in Boston and appointed Russell to teach the Lydian Concept in the newly created jazz studies department, a position he held for many years. As Russell toured with his own groups, he was persistent in developing the Lydian Concept. He played the Bottom Line, Newport, Wolftrap, The Village Vanguard, Carnegie Hall, Sweet Basil and more with his 14-member orchestra. Later works In the 1970s Russell was commissioned to write and record 3 major works: Listen to the Silence, a mass for orchestra and chorus for the Norwegian Cultural Fund; Living Time, commissioned by Bill Evans for Columbia Records; and Vertical Form VI for the Swedish Radio. With Living Time (1972), Russell reunited with Bill Evans to offer a suite of compositions which represent the stages of human life. His Live in an American Time Spiral featured many young New York players who would go on to greatness, including Tom Harrell and Ray Anderson. When he was able to form an orchestra for his 1985 work The African Game, he dubbed it the Living Time Orchestra. This 14-member ensemble toured Europe and the U.S., doing frequent weeks at the Village Vanguard, and was praised by New York magazine as "the