Saturday, March 28, 2015

Mads Vinding Group - 1974 - Danish Design

Mads Vinding Group 
1974 
Danish Design



01. Fast Winding
02. Mikkla's Lullaby
03. Soft Turmoil
04. Danish Drive
05. La Tour
06. Moog's Blues
07. Funky But...    

Bass & El. Bass – Mads Vinding
Congas – Sabu Martinez
Drums – Ola Brunkert
Guitars – Janne Schaffer
Piano, El. Piano, Clavinet, Moog – Kjell Öhman




Long regarded as one Europe's finest jazz bassists, the Danish Vinding has played with such stars as Herbie Hancock, Wayne Shorter, Dexter Gordon, Stan Getz, Gary Burton, Dizzy Gillespie, and Bob Brookmeyer, among others. Vinding taught himself to play, and by the age of 16 was performing professionally. He served as the house bassist at the Montmartre night club in Copenhagen, where he accompanied many famous visiting American musicians. He began recording as a sideman in the late '60s. In 1974, he recorded with bebop pianist Duke Jordan. That year he also led a date that produced the album Danish Design on the Sonet label. Vinding played in the Radioens Big Band from 1978 and with Ernie Wilkins' Almost Big Band from 1980. During the '80s, he worked and recorded with pianist Kenny Drew and flugelhornist Art Farmer, pianist Herbie Hancock, guitarist Doug Raney, and many others. With drummer Billy Hart, Vinding was a member of a Hank Jones-led group called the Great Jazz Trio. The group released several albums' worth of material in the late '80s and early '90s. Vinding was extremely active during the '90s, recording with such musicians as saxophonist Jesper Thilo, pianist Martial Solal, and many others. By the late '90s, he had begun recording as a leader more often. In 1997 he formed the Mads Vinding Trio with his fellow Dane drummer Alex Riel and the Italian pianist Enrico Pieranunzi. That configuration recorded The Kingdom Where Nobody Dies for Stunt Records. Pieranunzi was replaced on subsequent trio albums by Roger Kellaway and Carsten Dahl. Vinding has been unusually prolific. He's played on upwards of 600 recordings (by his own count) and received many European jazz awards. In addition to his recording and performance activities, Vinding has also composed for film.

Pop Workshop - 1974 - Song Of The Pterodactyl

Pop Workshop
1974
Song Of The Pterodactyl




01. Prehistoric Bird
02. Song of the Pterodactyl
03. High Priest
04. Dilemma
05. Watusi Dance
06. Mammoth
07. Ozzy Bear
08. Kuyaviak Goes Funky

Zbigniew Namyslowski - alto saxophone [electrified], flute, cello
Mads Winding - bass
Tony Williams - drums
Janne Schaffer - guitar
Wlodek Gulgowski - piano [Fender], synth [Synthi], keyboards




Interesting all-star fusion band including Janne Schaffer and Tony Williams. Definitely a Coltrane-ish jazz album with strong overtones of Mahavishnu era fusion and Herbie Hancock “Headhunters” funk. A nice mix and not too far from that other Swedish based jazz rock ensemble Ablution, though I found that one to be more unique. Those that like the early 70s jazz fusion sound, will most certainly enjoy this release.

On the same label (Grammofonverket) as the much recommended Ibis album, Pop Workshop are clearly a band operating in the raw jazz rock category (rather than fusion). Founded by two prominent Polish jazz members on keyboards and sax, Pop Workshop - over the course of both albums - features marquee name players such as guitarist Janne Schaffer, drummer Tony Williams, and bassist Mads Vinding. This is definitely music of the underground, and fans looking for slick fusion will have to look elsewhere. I would say Ablution - another international band based in Sweden - is probably the closest comparison here. "Song of the Pterodactyl" adds in the more trendy Herbie Hancock "Headhunters" era styled funk to great effect. Both are very good albums that are in dire need of a CD reissue.

Pop Workshop - 1973 - Volume 1

Pop Workshop
1973
Volume 1




01. Point Of Junction
02. Hanging Loose
03. Perforated Mind
04. Sentience
05. Equinox
06. The Last Pharoah
07. Equivalent In Nature
08. Perfect Touchdown

Alto Saxophone – Zbigniew Namyslowski
Bass – Stefan Brolund
Drums – Ola Brunkert
Electric Piano – Wlodek Gulgowski
Flute – Zbigniew Namyslowski
Guitar – Janne Schaffer
Percussion – Ahmadu Jarr, Ed Thigpen
Synthesizer – Wlodek Gulgowski



This record usually sells for USD150, and it's too bad great music like this isn't available for "common people". So here it is, a great jazz/rock/fusion-record from 1973, never re-released, and not available on CD.

Centred around Swedish pianist Wlodek Gulgowski, the Pop Workshop project was formed in part from young Swedish musicians and in part from internationally recognized jazz greats.
Besides bassist Stefan Brolund and percussionist Ola Brunkert, the band also included the guitarist Janne Schaffer, who would become known in later years (as a guitar playing Zebra...).

Together with drummer Ed Thigpen, percussionist Amadu Jarr, who with the Swedish fusion band EGBA also released some interesting recordings himself at this time, lent this line-up its rhythmically dense, energy-laden and complex groove.

Thigpen, who had already played in the States with such major names as Bud Powell, Billy Taylor, Oscar Peterson and Ella Fitzgerald, had moved to Copenhagen in 1972, where he taught at the Conservatory in Aarhus.

The actual star of this group was saxophonist Zbigniew Namyslowski. He already played with legendary Krzysztof Komeda and the Novi Singers, and was one of his country's best know musicians.

Great music, so enjoy!

Panta Rei - 1973 - Panta Rei

Panta Rei 
1973
Panta Rei






01. Five Steps
02. White Bells
03. Five O'Clock Freak
04. The Knight
05. The Turk

Thomas Arnesen - guitar, keyboard, percussion
Leif Östman - guitar, percussion
Cary Wihma - bass, percussion
Tomo Wihma - drums, percussion
Georg Trolin - vocals, percussion
Göran Freese - saxophone, percussion
Gunnar Lindqvist - flute



Panta Rei was created in 1970 in Stockholm, when Thomas Arnesen (guitar), Lennart Backvall (guitar), Zeke Öhrn (bass) and Anders Francisco Sell (drums) were a quartet. When the band in the spring of 1973 issued their first and only album, was of the founding members only Arnesen there. "Panta Rei" was published in the same year by EMI on their Harvest label. Not much later, the group has then resolved well. (Thomas Arnesen is still musically active as a studio musician, but also with various band projects such as the recent Arnesen Bluesband.)

In my humble opinion, album is one of best Swedish rock LP from the 70's! What a shame that this fantastic band recorded only one LP! was released in 1973 on Harvest label and consisted truly powerful collection of largely instrumental and improvised heavy progressive music. Filled a whole played with lightness ... severe, progressive exemplary playing with a bit of folk (ie, traditional music). Catchy melodies, excellent instrumental workshop, lots of guitars, sometimes an occasional flute and sax, robust, slightly broken beat, long musical works and no vaseline! In this crunched fantastic music,debut just went unnoticed and as it turned out the only LP the Swedish group Panta Rei. This record can be defined in two ways - sensationally good and criminally unknown. Without any exaggeration - it's one of the best albums progrock that appeared in Sweden in the seventies, but the very beginning does not look anything good No but the farther, the better ... lt’s worth noting that of the ?ve tracks, only two lasted less than 7 minutes. In sharp contrast to rather ugly and slightly disgusting cover the Panta Rei’s music was very matured and truly excellent.

Five tracks filled with wonderful the raging guitars, melodic solos (incredible workshop), broken rhythms, and it's all interwoven occasional flute and saxophone. The board is also pretty twisted style - we have elements of psychedelia, space rock, heavy guitar prog, folk and a moment later Canterbury, some Zappa and jazz-rock. There is space, it is hard, and orient freak. Delicious blend! 38 minutes a fantastic, lively music you will love every fan of strong guitars from the 70s.

"The Knight" here to be reviewed 1st Part: Robert Schumann is there to read in the Journal of the CD inlay. So Schumann. After extensive Schumann by tilting my little collection I'm not smarter. A piano works of Schumann could be. Or is it from Piano Concerto? Forget it! I can hear again Schumann's concerto, but the melody can discover anywhere. Thomas Arnesen, the former guitarist of Panta Rei. Spontaneously, I write: "The first part is a piano piece by Schumann-titled" Black Peter "gave way I used to play as a kid in piano school." As I continue Arnesen tells his piano teacher gave him at that time that the pieces for a knight - is (Knight, as the good man has apparently translated servant, the same root word is yes) named. Hence the song title. Panta Rei do here blues-heavy prog (Protoprog), determined by Arnesens and Östmans guitars and jazzy with clear felling. Keys do not play such a big role, although now and come on piano and organ used. Therefore sometimes enrich flute and sax, the sound spectrum. A fairly typical of the time is the most blues and west coast-influenced rock forms the basis of this music. On this basis, what is offered is moving, especially in the two long numbers in progressive, bluesy jammige and especially jazz-rock realm. The Schumann adaptation is quite successful, moved the piano part on the guitar and meets well the character of the original. After that the number converts to a sprawling, from nested interplay of electric guitars certain jazz rockers. The closing "The Turk" is characterized by the skillful integration of Turkish oriental influences and brings a fun entertaining album to end. lt’s an album which can't be missed! In a word - classic.

Sabu Martinez - 1973 - Afro Temple

Sabu Martinez 
1973
Afro Temple



01. Martin Cohen Loves Latin Percussion
02. Meapestaculo
03. Wounded Knee
04. Afro Temple
05. All Camels Hump
06. Hotel Alyssa-Sousse, Tunisia
07. Para Ti Tito Rodriguez
08. My Son Johnny And Me
09. My Christina

Per Arne Almeflo: Congas
Christer Boustedt: Flute, Sax (Alto)
Ali Lundbohm: Drums
Conny Lundstrom: Congas
Christina Martinez: Vocals
Johnny Martinez: Congas
Margarita Martinez: Vocals
Sabu Martinez: Bongos, Composer, Congas, Gong, Percussion, Primary Artist, Talking Drum, Timpani
Red Mitchell: Bass, Composer
Stephen Moller: Drums
Peter Perlowsky: Percussion
Bernt Rosengren: Piccolo Flute, Sax (Tenor)
Bo Svensson: Congas

Recorded and produced at Europa Film Studio, Sweden, March 1973



Louis "Sabu" Martinez (July 14, 1930 – January 13, 1979) was an American conguero and percussionist. A prominent player in the Cubop movement in the 1950s, Martinez appeared on many important recordings and live performances during that period. Martinez also recorded several Latin jazz albums, now recognized as classics of the genre.

Born in New York City, Martinez made his professional debut in 1941 at age 11. He replaced Chano Pozo in Dizzy Gillespie's orchestra in 1948, and began performing with Benny Goodman's Bebop Orchestra in 1949. Over the next 15 years, Martinez worked with Charlie Parker, Duke Ellington, Count Basie, J. J. Johnson, Horace Silver, Thelonious Monk, Charles Mingus, Mary Lou Williams, Lionel Hampton, Noro Morales, Marcelino Guerra, Esy Morales, the Lecuona Cuban Boys, Miguelito Valdés, Tito Rodríguez, and the Joe Loco Trio. He also worked with vocalists Tony Bennett, Sammy Davis, Jr., and Harry Belafonte.

Martinez first recorded with Art Blakey in 1953, and contributed to his Orgy in Rhythm and Holiday for Skins projects from 1957–58. Martinez became a bandleader in 1957, recording his debut album, Palo Congo, for Blue Note Records. He followed it up with releases on Vik and Alegre Records. Martinez moved to Sweden in 1967 and recorded with the Francy Boland-Kenny Clarke big band, releasing two albums. Subsequently he led the group Burnt Sugar, which was active into the mid '70s. On January 13, 1979, he died in Sweden at the age of 48 of a gastric ulcer.

The final release of conga master Sabu Martinez is an out-in-the-psychedelic-ozone masterpiece. Featuring a politicized Martinez reciting poetry, his own manically exotic percussion ensemble, and a slew of reeds, woodwinds, and brass, this is a heady brew of poetry expressing Latino and indigenous pride, political indictments against the white man, and killer Afro-Cuban jazz. Think of Archie Shepp's Attica Blues or Abbey Lincoln and Max Roach's Freedom Now Suite done by Chano Pozo and you are getting the idea. The layers and layers of congas and djembe drums, the wailing saxophones à la Coltrane and Pharoah Sanders, and swirling flutes played as if they were Eric Dolphy or Prince Lasha, hypnotically elocuting Martinez's poetic recitations -- after he's finished speaking. The title track is the best example of this, though it is a cut without poetry at the top. There's a mesmerizing rhythm that creates a kind of speech between the drums. The saxophones -- and I have no ideas who is playing them because this company in Italy that issued this provides no credits -- act as singers punching into the stratosphere with the cry of birds. Next, in "All Camels Hump," to a frenetic polyrhythmic orchestra of drums -- some heavily reverbed -- a pair of flutes play blues licks back and forth until they are drowned out by electronically distorted percussion. From the camels we move to the "Hotel Alyssa-Souisse, Tunisia." Here a drum kit and a choir of congas go to work as a saxophonist plays alternating lines from R&B records and Sonny Rollins solos! It's a mind-bending experience to think that someone heard music like this in his head and then went out and made it. This record is essential for any fan of Latin jazz, Vanguard jazz, Cuban music, or just plain sound. This guy went out riding the crest of a creative wave of pure genius.

Ragnarök - 1979 - Fjarilar i magen

Ragnarök 
1979
Fjarilar i magen



01. Adrenalin    1:40
02. Första Ön    6:20
03. Östen Är Röd    5:25
04. Var Glad Var Dag    4:00
05. Blåmolnfolket    8:15
06. Brushanespele    2:10
07. Vattenytor    6:45

Drums, Percussion – Thomas Wigert
Guitar – Dan Söderqvist, Peter Bryngelsson
Piano, Flute, Percussion – Peder Nabo
Saxophone – Kjell Karlgren


Ragnarok's (from Sweden) second album is an interesting mix of the dreaminess of their first album with decidedly more prog-rock elements. I'm not sure about the "folk" prog label though. I think it works very well and is as impressive as their highly regarded debut. The music alternates between the softer beautiful moments like their first album and these rocking melodic moments and does not sound dated at all. Tracks change, build, evolve always to pleasing new places. Playing is top notch and sound is great. Here's a quick summary of the songs:
The short intro Adrenalin begins nothing like their debut, it is a BIG rock sound with chunky guitar. Track two Forsta begins with lovely solo piano and slowly builds with great bass and guitar atmospheres. There is definite playfulness and gorgeous melody. The third track Osten goes back to being quiet and spacey not unlike a mellower Oldfield moment and towards the end sounds a little like an instrumental interlude from The Wall. Next is Var Glad starting again very soft before the band kicks in with luscious guitar leads and some sax, very rocking! Then comes the 8 minute Blamolnfolket starting soft and moody again, floating through acoustic guitar, flute, and bass. Then a distant sax is layered atop. Around the five minute mark enters drums and ominous guitar before the flute comes back to close the song peacefully. Nice track! Next is Brushanespel which features echoed loop guitar with some bongo percussion. The album closes with the longest song Vattenytor at 8.5 minutes. This track summarizes other parts of the album before closing with a minute or two of running water, an interesting way to end.

Everything is very thoughtfully arranged and ambitious. This is a true lost instrumental gem and given that we're talking 1980 here this is all the more impressive. The cover art may be unfortunately silly but the music is truly wonderful. A wide range of moods from colorful to dramatic to playful to brooding. Luscious. Not to be missed. 4.5 stars and I want to round up but am trying to restrain my enthusiasm!!! Very hard in this case.

Ragnarök - 1976 - Ragnarök

Ragnarök 
1976 
Ragnarök



01. Farväl Köpenhamn 2:31
02. Promenader 4:39
03. Nybakat bröd 3:03
04. Dagarnas skum 8:02
05. Polska från Kalmar 0:44
06. Fabriksfunky 4:52
07. Tatanga mani 4:42
08. Fjottot 1:28
09. tiltje-uppbrott 4:21
10. Vattenpussar 4:09

Drums – Lars Peter Sörensson
Drums, Guitar – Stefan Ohlsson
Electric Bass – Staffan Strindberg
Electric Guitar, Flute, Flute [Sopranino], Soprano Saxophone – Henrik Strindberg
Flute, Guitar – Peder Nabo
Guitar – Peter Bryngelsson



Ragnarok's debut album finds them playing a gentle, mellow blend of charming folk rock and laid-back progressive rock. An all-instrumental affair, it boasts guitar and flute work which in conjunction put me in mind of a substantially folkier version of Camel. On the other side of the equation, the folk influences remind me of West Coast folk rock more than it does, say, the sort of folk motifs Jethro Tull were emphasising in their work at around the same time, or the pastoral influences that would characterise early Genesis. The end result is a folk prog album which has a unique sound and which I think has been mildly unfairly overlooked. I don't think it's a full-on lost classic, but it's certainly a very charming album which doesn't deserve the obscurity it's languished in as far as the international prog scene goes.

Saga - 1974 - Saga

Saga 
1974
Saga



01. Djävulens läppar (6:32)
02. Gamla goda misstag (2:11)
03. I ett glashus (3:32)
04. Önskebrunnen (7:49)
05. Soliga barn  (1:25)
06. Jakten tillbaka (4:40)
07. Sång för Sylvia  (1:51)
08. Källardrottning (4:32)
09. Ensamma rum  (6:17)

Christer Stålbrandt / vocals, bass
Kenny Bülow / guitars, vocals
Mats Norrefalk / guitars, vocals
Sten Danielsson / drums

With:
Sylvia Olin / piano
Christer Eklund / sax
Björn Isfält / Cello



The album is a very unusual and offbeat mix of hypnotic guitar-acid sound waves and mystically mesmerizing vocals. Unsteady harmonic vibrations generated by the creative impulse of the group's leader bassist Stalbrandta Christer (Christer Stalbrandt) gently envelop soluble in the vast ocean of the universe and gradually refusing to resist the inexorable laws of intergalactic space consciousness. Viscous and melancholic singing Swedish- Christer and disturbing sounds sad and enlightened cello Bjorn Isfelta (Björn Isfält) created while listening to the album a real sense of belonging emotional experiences of the authors of music and carry the listener into a fantastic and full of unforeseen danger and adventure, journey into the world of animated echoes of ancient Scandinavian sagas and sagas passed through the black-and-white prism of modern perceptions of reality in all its manifestations, not children. A delightful drive and is definitely one of the best rock albums of the Scandinavian 70 's.

Mount Everest Trio - 1977 - Waves from Albert Ayler

Mount Everest Trio
1977
Waves from Albert Ayler





01. Spirits
02. Ramblin'
03. Orinoco    7:05
04. Bananas Oas
05. No Hip Shit    7:26
06. Elf    3:17
07. Eritrea Libre    3:46
08. People's Dance
09. 101 W. 80th Street
10. Consolation
11. Ode To Albert Ayler    5:25



Alto Saxophone, Tenor Saxophone – Gilbert Holmström
Bass – Kjell Jansson
Drums – Conny Sjökvist

Tracks 1 to 8 recorded in Sämus, Göteborg, Sweden, November 1, 1975 and originally released on LP by Levande Improviserad Musik in 1975.
Tracks 9 to 11 (bonus tracks) recorded 1977.



Chicago's John Corbett and the Atavistic label have done a great service to free jazz fans in reissuing this sole album by Sweden's influential Mount Everest Trio as part of the Unheard Music Series. Waves From Albert Ayler gives good indication by its title of this absolutely invigorating outing by alto and tenor player Gilbert Holmström, bassist Kjell Jansson, and drummer Conny Sjökvist. Without a doubt, this album wails from the first seconds of Ayler's "Spirits," which opens the album. But this is not wholly an energy record; there are beautiful down times as well, including the deep ballad "Bananas Oas" and their swinging rendition of Ornette Coleman's "Ramblin'," which features some great highlights of Jansson. After starting the album by covering Ayler and Coleman (two American musicians who certainly had a great influence upon them), the Mount Everest Trio kicks into the first original of the session, "Orinoco." This piece has a driving urgency that pushes the musicians, who work it into a sweat, and eventually an earthquake whose full-blown force continues to peak right up to the unfortunate fade-out that will leave the listener yearning to hear what was cut so long ago. The trio also whips the energy up into a frenzy during "No Hip Shit," a decidedly un-prettified tough take. Yet following this is another nice wind-down, the more sparse and careful "Elf." The original issue of Waves From Albert Ayler closed two tracks later with a cover of Gary Bartz's "People's Dance," but this CD reissue also includes three bonus tracks that were recorded in 1977 right before the group dissolved. A big "thank you" goes out to the adventurous and experimental Swedish saxophonist Mats Gustafsson for bringing to light one of the albums -- and saxophonists -- that had a strong influence on him.

Doris - 1970 - Did You Give the World Some Love Baby

Doris
1970
Did You Give the World Some Love Baby




01. Did you give the world some love today, baby (Norman L. Martin)
02. I wish I knew (Billy Taylor - Dick Dallas)
03. Grey rain of Sweden (Berndt Egerbladh - Pamela Gray)
04. Waiting at the station (Berndt Egerbladh - Francis Cowan)
05. Don't (Berndt Egerbladh - Francis Cowan)
06. Daisies (Berndt Egerbladh - Pamela Gray)
07. You never come closer (Berndt Egerbladh - Francis Cowan)
08. Whispering pine [sic] (Richard Manuel - Robbie Robertson)
09. I'm pushing you out (Berndt Egerbladh - Francis Cowan)
10. Won't you take me to the theatre (Berndt Egerbladh - Francis Cowan)
11. Beatmaker (Berndt Egerbladh - Francis Cowan)
12. Bath (Harry Nilsson)

CD Bonus tracks, "the pop years:"
13. Mama didn't lie (Curtis Mayfield)
14. Benny Law (Christer Olsson - Thomas Sallstrøm)
15. You made a fool of me (Christer Olsson - Thomas Sallstrøm)
16. Wouldn't that be groovy (Bengt Karlsson - Søren Karlsson)
17. Don't let it rain (J. Peel - S. Robertson)
18. One fine day (Gerry Goffin - Caroline King)
19. Flowers in the morning (John Cameron)
20. What a lovely day (Gabor Nadas - Roger Wallis - Åke Strømmer)
21. Why did you go (Jerome South)
22. Go back to daddy (John Chesterton - Bob McNally)

Doris Svensson: Vocals
Berndt Egerblad: Organ
Janne Carlsson: Drums
Bengan Carlsson: Guitar
Lukas LIndholm: Bass

Recorded April 6-8 and May 28, 1970 at EMI Studios, Stockholm.




1970 album from Swedish singer and Petula Clark wanna-be Doris (Svensson), re-issued on CD (with bonus tracks) by EMI in 1996. Includes a cover of Richard Manuel's "Whispering Pines."

Liner notes from original LP:

This LP marks the highlight in the career of a talented Nordic blond vocalist - Doris Svensson from Gothenburg, Sweden. It seems as though she's finally managed to find and record a set of songs that suit her 100%. Maybe this isn't surprising when you consider the musical genius that went into writing and scoring the album. Most of the material was written and arranged by TV producer, jazz-pianist, composer, "rarely-out-of-the-news-man-about-town" Berndt Egerbladh. Lyrical assistance was generously provided by a 6 foot kiltless Scottish giant, Francis Cowan. Francis also plays the cello on a few tracks which explains why he's kiltless. Anyway, quite a combination which gave a fantastic result, with a little help from the producer Håkan Sterner. Incidentally, Håkan found the job so exciting that he was forced to retreat behind a beard after its completion.
Doris' album provides 36 minutes of qualified musical jou guaranteed to satisfy all tastes. Discotheques will find that two numbers in particular, "Don't" and "Beatmaker" are good box office draws. Jazz die-hards might even start visiting discotheques after digesting "I wish I knew" and "I'm pushing you out". Note too an incredible ballad called "Daisies" and tell me if Sweden hasn't produced a dangerous competitor for Melanie.

Once again, this LP's got something for everybody, the best of underground, jazz, rock and folk - not mixed up in one gigantic hotch-potch, but all in gentle harmony. Listen to Doris - a good time will be has by all.
--Roger Wallis

De Gladas Kapell - 1978 - Spelar Nilsson

De Gladas Kapell 
1978 
Spelar Nilsson



01. Havanna Boogie (6:28)
02. Kelt Visan (6:55)
03. Samballad (4:31)
04. De Gladas Kapell (7:21)
05. Morgonlåt (7:15)
06. Rio déja vu (5:31)
07. Lösnäsor åt konstaplarna (bonus track) (6:28)
08. Nyspolat (bonus track) (6:40)


Coste Apetrea - Electric and Acoustic Guitars
Stefan Nilsson - Acoustic Piano, Mini Moog, Teeth
Georg Wadenius - Bass
Peter Sundell - Drums



Finnish record label Lion Music releases their second highly anticipated classic style re-issue of 2005 with Spelar Nilsson by a quartet called De Gladas Kapell. This album was originally recorded in one session back in May of 1978 by some of the finest musicians available in Sweden. Coste Apetrea was also featured prominently on Lion’s first re-issue as the 2nd guitarist playing on the excellent JTB (Jukka Tolonen Band) album by Finnish guitarist Jukka Tolonen. Although touted by Lion as being “one of the true landmarks of Swedish progressive rock”, the music on Spelar Nilsson actually owes a lot more to jazz than it does to rock.
The disc is musically diverse, and there are fine examples of light and shade everywhere as the musicians flex their muscles when necessary on the more firery uptempo numbers, and yet are equally at home displaying their musical subtleness with more of an introspective feeling on the quieter, more laid back pieces. Right from the opening moments of the six and a half minute “Havanna Boogie”, where Apetrea and pianist Stefan Nilsson briefly lock horns and play the same lines in unison, before Coste tears into an absolutely ripping solo, you immediately get the feeling that this disc will have it’s fair share of musical fireworks and instances of dynamic musical interplay. As mentioned above Apetrea played second fiddle to Tolonen on the JTB CD, where he did get a few opportunities to show off his chops, but on this release he doesn’t share the guitar duties and you get to see just what a diverse and talented player he really is. Whether he’s blazing away and demonstrating his fusion infused style on the electric or choosing his notes ever so carefully acoustically, he pulls it all off with the greatest of ease, and along with the absolutely brilliant and fluid piano playing of Nilsson it makes for one hell of a musical ride. The rhythm section as well should not be overlooked and is propelled by Georg Wadenius’ fat, funky bass lines and Peter Sundell’s fantastic power on the drums. There is an unmistakable live feel and spontaneity that comes through big time in the playing and the overall sound of the CD is excellent, like the music could have been recorded yesterday. Lion deserves big kudos for doing such a magnificent job, finally releasing this musical gem and one has to wonder why such a great collection of songs such as these were never made available before. This disc has the ability to both satisfy the most curious and casual jazz fan’s appetite and at the same time it will have even the highest schooled musicians nodding their heads in appreciation and amazement of the skills of these 4 wonderfully talented individuals. This release was worth waiting for and definitely proves the old saying of better late than never was right.

Abdo - 1974 - Salma

Abdo
1974
Salma




01. The Oriental Express Train
02. Salma Ya Salama
03. Hela Hop
04. Ah Ya Zen
05. Atshan Yasabaya

Cello – Nagi Elhabashi (tracks: 4)
Drums – Tommy Slim Borgudd (tracks: 4)
Electric Bass – Bosse Häggström (tracks: 4)
Electric Piano – Carl-Axel Dominique (tracks: 4)
Engineer – Gunnar Lööf
Flute – Björn J:son Lindh (tracks: 1 , 3), Torbjörn Carlsson (tracks: 3)
Goblet Drum [Tabla], Finger Cymbals [Sagat] – Bahi Bakarat
Lute – Abdelrahman Elkhatib
Organ – Monica Dominique (tracks: 1)
Organ, Electric Piano , Electric Bass , Drums – Solar Plexus (9) (tracks: 4)
Producer – Gunnar Lindqvist
Tambourine – Abdelrahman Elkhatib (tracks: 1)
Vocals – Abdelrahman Elkhatib (tracks: 2 , 3 , 4), Large Choir Of The Södertälje Choral Society, The (tracks: 2 , 4), Södertälje Chamber Choir, The (tracks: 1 , 3 , 4 , 5), Östertälje Intermediate School Choir, The (tracks: 2 , 4)

Recorded at EMI Studios, Stockholm, Sweden in January-December 1972.



Amazing jazz funk groove on side B of this Arabic album () in the track 'Ah ya Zen'!  Album features Solar Plexus and Bjorn J Son Lindh, Bahi Barakat, Vigo Löfcrantz, Nagi Elhabashi.
Recorded in Sweden, this issue was released in France.
Super hard to find, even in Sweden & France!! And that's why this is still an under the radar record.