03. The Black And The White
04. Lisa Sover
Congas, Percussion – Ahmadu Jarr
Drums – Claes Wang
Electric Bass, Contrabass – Stefan Brolund
Electric Piano, Piano – Harald Svensson
Guitar – Jan Tolf
Saxophone, Flute – Ulf Andersson
Trumpet, Flugelhorn – Ulf Adåker
Recorded and mixed autumn '73 and spring '74 at Ljudkopia music studio.
Swedish Jazz-Rockers,which adapted Latin and African elements in their music,led by trumpetist Ulf Adåker and sax player/flutist Ulf Andersson (ex-Heta Linjen).They were formed in 1971 in Stockholm and the extended line-up on their self-titled debut featured also drummer Claes Wang,guitarist Jan Tolf,pianist Harald Svensson,bassist Stefan Brolund and percussionist Ahmadu Jarr.This was released in 1974 on the Jazz-specialized Swedish label Sonet.
The side A of the album is dominated by two long cuts at over 8 and 13 minutes respectively,an example of well-executed but definitely not surprising Jazz-Rock with carefully stretched solos and some light improvisation,heavily based on saxes and trumpets,characterized also by nice interplays between the musicians and great guitar playing by Tolf.The second side opens with the excellent light Symphonic/Jazz-Rock piece ''The black and the white'' with the finest interplays of the album,followed by the hypnotic still interesting ''Lisa Sover'',based on contrabass,flutes and congas.''Gbinti'' is rather uninteresting African Ethnic music,exclusively led by congas and percussion,with ''Cirrus'' setting things in place,light flute-driven Fusion with smooth piano and bass.''Capsilon'' is another average mix of Funk with African Music,very pleasant but far from adventurous or intricate.
Without being an exception to the typical Jazz-Rock sound of the age,''Egba'' is eventually a rather decent release of the style with some really interesting cuts contained.Definitely deserves a place in the collection of more people than the average Jazz-Rock follower.Warmly recommended.
Egba are a jazz rock group with emphasis on the former. Nice flute, electric and acoustic piano, and jazz-tone guitar runs all within the confines of tightly arranged compositions. Some African moves foreshadows what Archimedes Badkar would do on “Tre”. Long track on the backside contains a funk rave-up with fiery solos from sax, guitar and electric piano.