Check out the volume 6 of
Swedish Jazz on Caprice

"I joined Seymour's band in 1949 and was eventually offered the baritone chair. I had never touched the instrument before but it felt good and that's the way it started

The baritone is really beautiful and I realized at once that this was my instrument. It has richness and depth, warmth, light and darkness, like a cello. I was given an old Chech horn, smaller than a regular baritone, well it was incredibly. I started to play and was immediately captured by it's possibilities for improvisation."

From the book Jazz Amour Affair.

Lars Gullin in the Big Bands

Lars Gullin tried to finance his piano studies at the Academy by playing piano in dance bands. Soon the life as a jazz musician became all-consuming and the studies were abandoned. He did however compose and perform a Concertina and an Andante and Scherzo, both written for piano and Symphony Orchestra.

He worked with the big bands of Charles Redland, Arthur Österwall and Seymour Österwall, rapidly moving from the piano chair to the sax section. It was in the Seymour Österwall band that he was offered the baritone chair - and the rest is history.

Few recordings exist where he is featured as a soloist. Two tracks from summer sessions in 1950 with Seymour's band feature him as a soloist and also arranger of Vilhelmina. It might be the first hint of the impact that the Miles Davis tuba band recordings made on him.

This is evident in a broadcast from November 1950 with the Thore Ehrling band, an all star conglomeration that later would reappear under the leadership of one of of its sax players, Harry Arnold, as the Radio Big Band. Lars scored Godchild, influenced both by the original record and the arrangement style of Gösta Theselius.