Wednesday, March 25, 2015

Andreas Aarflot - 1978 - Det Rivna Pianot

Andreas Aarflot
1978 
Det Rivna Pianot




01. Sista Båt Från Shanghai   
02. Svedolfs Telefonkiosk   
03. Vägar   
04. Surayya   
05. Det Röda Gräset   
06. Sångaren   
07. Monopolouverturen   
08. Morgongåva   
09. Skopor & Dynamit   
10. Det Rivna Pianot

Britt Nilsson: Vocals
Stefan Bjorklund: Guitar
Christer Odberg: Trumpet
Rolf Hedberg: Flute, Saxophone
Bjorn Sjoo: Trombone
Urban Nilsson: Bass
Dick Ask: Drums
Andreas Aarflot: Keyboards



Obscure keyboardist Aarflot put out this one very fine fusion album with many differentiators to the norm. These include a strong classical component (pipe organ, strings), sweet female vocals sung in Swedish, wonderful flute solos, and a strong dash of the Canterbury (melody, structure). Excellent album.


Anthony 'Reebop' Kwaku Bah - 1973 - Anthony 'Reebop' Kwaku Bah

Anthony 'Reebop' Kwaku Bah 
1973 
Anthony 'Reebop' Kwaku Bah




01. Kwaku's Thing 6:39
02. Funkum 5:52
03. Iponohinime 6:59
04. Africa 5:24
05. Lovin' You Baby 5:12
06. 200 to 500 Years Ago 8:56

Maffy Falay: Trumpet
Ulf Andersson: Tenor Saxophone, Flute
Gunnar Bergsten: Baritone Saxophone
Bobo Stenson: Electric Piano
Jan Schaffer: Electric Guitar
Bengt Dahlén: Electric Bass
Erik Dahlbäck: Drums
Anthony Reebop Kwaku Baah: Percussion




The rhythms of Nigeria were brought to British rock by percussionist/singer Reebop Kwaku Baah (born Remi Kabaka). A member of Traffic during the early '70s, Baah became the only non-founding member with the group longer than Dave Mason. He subsequently worked with German rock bands CAN and Zahara, and recorded several impressive solo albums. His 1977 album Trance was a collaboration with traditional Moroccan musicians from the mystical Ganoua sect. A native of Lagos, Nigeria, Baah moved to England in the '60s. He was living in Sweden in 1971 when Steve Winwood invited him to record and tour with Traffic. Although he remained with the group for the remainder of the '70s, he balanced his involvement with solo projects. His debut solo effort Reebop, recorded with Swedish musicians and released in 1972, was followed by Anthony Reebop Kwaku Baah in 1973 and Trance in 1977. His final album, Melodies in a Jungle Man's Head, released in 1989, was left unfinished. In addition to his work with Traffic, Baah contributed to albums by Winwood, the Rolling Stones, and Ginger Baker.

Kornet - 1979 - III

Kornet
1979
III




01. FLorent Florant (4:24)
02. Apollinaris (5:30)
03. Lailet Hob (8:25)
04. Stararnas Vår/Brainstorming (7:44)
05. Folklåt (10:07)

- Stefan Nilsson/ acoustic piano, Rhodes, minimoog, Yamaha-synthesizer, Prophet-synthesizer, Fartisa organ, Teeth
- Örjan Fahlström/vibraphone, glaschimes, Solina string, percussion
- Stefan Björklund/ guitars, percussion
- Sten Forsman/ bass, voice, flute
- Åke Sundqvist/ drums, timbales, percussion, calimba, glaschimes
+
- Bruun/voice (01)
- Palle Mikkelborg/ trumpet (04)
- Lars Togeby/ trumpet & flugelhorn (04)
- Allan Botchinsky/ flugerhorn (04)
- Erling Kroner/ trombone (04)
- Ture Larsen/ basstrombone & trombone (04)
- Aske Bentzon/ lyricon
- Anna Lotta Larsson/ voice (05)



Kornet - 1977 - Frittfall

Kornet 
1977
Frittfall



01.Lyrisk Olåt (3:54)
02.Sista Skriket (9:27)
03.Bilder Om Våren (7:06)
04.Plåtniklas (7:10)
05.Skotten John (5:57)
06.Darjantan (6:33)

-Sten Forsman/ Bass
-Åke Sundqvist/ Drums, Percussion
-Stefan Nilsson/ Grand Piano, Electric Piano, Synthesizer,
-Stefan Björklund/Guitar, Mandolin
-Ed Epstein/ Saxophone
-Örjan Fahlström/ Vibraphone, Marimba, Percussion
-Sabu Martinez /Congas -
-Thorbjörn Eklund/ Flute
-Nils Holmstedt/ Cor Anglais



The first two Kornet albums ,the self titled Kornet and the second Fritt fall (Free fall) are very similar,so this review could also fit the first album.

Kornet is a great band similar to another Swedish band EGBA.The music here is a very energetic and adventurous blend of jazz rock fusion,with great swinging rhythm,along the lines of Return to Forever,Billy Cobham,Janne Schaffer,Bjorn Jason Lindh ,Isotope,Missus Beastly,Pekka Pohjola,Perigeo and the warmth of the Scandinavian north,if this makes sense,but when you hear this,I am sure you will understand.

Musicianship is top notch and everybody gets their fair chance to lets lose and show their skills.

I still have these from way back and they are still great to throw on every now and again.If you can find these anywhere,do yourself a favour and snap them up.



Kornet - 1975 - Kornet

Kornet 
1975
Kornet




01. Skriket Från Vildmarken (3:08)
02. Sju Hungriga År (4:45)
03. Jojk (5:16)
04. Friska Fläktar (5:05)
05. Frunk (3:45)
06. Intrude, Tretaktar'n (7:08)
07. Pygges Blues (3:43)
08. Musik Ur Filmen 'Adams Födelse' (3:40)


-Sten Forsman/ Bass
-Jan Skoglund/ Bassoon(track 8)
-Sten Forsman/ Cello(track 4)
-Åke Sundqvist/ Drums, Congas
-Johan Engström/ Flute
-Åke Sundqvist/Xylophone, Vibraphone,French Horn(track 3),Vibraphone (track 4)
-Johan Engström/ Guitar(track 4)
-Stefan Björklund/ Guitar, Piano, Electric Piano, Synthesizer
-Allan Lundströ/ Saxophone



Sweden has produced a fair amount of fusion acts through the times, but for some reason these never managed to punch through to the audience they deserved. The fact of the matter is, that we up here in the cold north actually have a long-standing jazz tradition going back to the days after W.W. 2, where countless of black jazz musicians called either Denmark or Sweden their home. Racism was still in its pyjamas up here, and people just saw them the same way they saw the American soldier: Like a hero. Others saw these incredible jazz men for what they were, and were therefore also happy as fish to see them play in their local beat club on a day to day basis. This is why Scandinavia saw a booming increase in white musicians all through the 60s and 70s - all of them wanting to play like Ben Webster or Sonny Rollins. Well some of them developed a fancy for the fusion part of jazz, incredibly warm to the idea that Miles had introduced towards the end of the 60s - melting rock and jazz together in one big pan.

Kornet (The Seed) were one of these bands who took the advice of Miles, although this outing is as far away from Bitches Brew as Celine Dion is to Neurosis. This self titled debut is extremely focused on melodies and smooth textures. Its wonderful usage of the electric piano for example is just heaven, and although this forum may not be the biggest fan of Stevie Wonder - I'll still recommend all you fans to have a closer listen to this keys man. I hear distinct similarities between him and Mr. Wonder - in fact I'll go as far as to say, that had he not chosen to go down the funk n pop road, this album offers a very good guess as to how Wonder would have sounded. There's some funk to this record as well, meaning you can dance to the thing, and before I scare the rest of you guys away, then let me say that all the instrumental wizardry within this bugger more than makes up for this fault of its. The funk is in the rhythm guitar, the bouncy booming bass and the tight drum work that propel this venture forward like a regular steam engine. Upon this funkadelic foundation you get esoteric raw piano runs, vibraphone, xylophone, French horn, the Stevie Wonder keys, saxophone, flute, bassoon, electric guitar songs making out with flying synthesizers and the odd cello. This music always has purpose - there's no jams for the sake of jams. -Not to these ears at least. Everything runs smoothly on the sonic train tracks, without getting long winded or obscure. Sure there's a bit of room, if the flute wants to play its piece slightly different than what it's used to, but the overall picture of a well-trained poodle still stands.



One of my favourite things about this album is the way the xylophones and marimbas are put to use. Just like with Zappa, these runs happen during distinct turnovers in the music - highlighting the given moment in sheer percussive bliss. That's what I love about these sort of instruments, because even if they are rhythmic objects, they still have pitch and a certain persona to them as well. Nothing sounds like them, which is what makes them so interesting, when they're put to good use - just like on here. They spice up the rest of the music with something unique.

The feel of the whole thing almost radiates warmth and welcoming salutes - opening up in your ears with delicate, smooth melody laden jazz rock that will have you smiling at the world in no time. This is fusion for the people who don't necessarily go for fusion. It has that aura about it, and that is probably why I tend to reach for it, whenever Miles and Herbie are a bit too wild and frantic for me.