Tuesday, March 26, 2019

Egba - 1976 - Jungle Jam

Egba
1976 
Jungle Jam


01. Turtle Dance 6:48
02. Bland Tomtar Och Kontroller 5:04
03. Takdropp 2:47
04. Follow That Knallert 5:58
05. La Firmeza 4:54
06. Trabajo Para Egba 6:00
07. Månadens Erbjudande 3:22
08. EKG 3:05
09. Apkalops 5:35
10. Hollywood Magic 7:00

Bass – Göran Lagerberg
Congas, Percussion – Ahmadu Jarr
Drums – Åke Eriksson
Guitar – Bjarne Roupé
Piano, Electric Piano – Lars Jansson
Saxophone, Flute – Ulf Andersson
Trumpet, Flugelhorn – Ulf Adåker


In 1976 Egba offered their second album ''Jungle jam'' again on the Sonet label with a vastly different core.Adaker, Andersson and Jarr are now accompanied by veteran bassist Göran Lagerberg (whom Andersson knew from Heta Linjen, also with Kebnekaise and ex-Baltik/Bo Hansson), guitarist Bjarne Roupé, pianist Lars Jansson of Janne Schaffer/Mount Everest fame and drummer Ake Eriksson, a future member of Wasa Express and Kebnekaise.

Passing through the second half of the 70's, the sound of Egba starts to incorporate elements with a more commercial edge, thus ''Jungle jam'' is an album, where you can find plenty of tropical Fusion synth-oriented moves, funky grooves typical of the age and also some more Horn Rock- and Soul-oriented touches.Its value though is actually in the same level of their debut.This is an even more incosistent release than ''Egba'', but its strong point is some killer instrumental work that is actually absent on their debut, akin to the more pounding parts of WASA EXPRESS, highlighted by one of the best rhythm sections to be heard.Unmet and frenetic drumming along with fast and furious bass lines meet the aggressive sax and trumpet of the Andersson/Adaker duo and the jazzy guitar solos of Roupé.The synthesizers sound a bit annoying, but there are also in there in the game of incredible interplays and endless instrumental battles of high quality.The really charming and pleasant grooves are not absent either along with some nice, sporadic flute runs.Had this style been maintained througout the whole album, we would be talking about a fantastic work.But the constant commercial overtones somewhat lower the overall level of the release.

This album should appeal to more or less extent from Prog/Jazz Rock hunters to fans of more pleasant, summer-drenched Fusion textures.Warmly recommended.

EGBA's 2nd album "Jungle-Jam" picks up right where they left off after their 1st self-titled release with more tasty jazz-rock fusion and a wide variety of styles and influences blended in.  "Gbinti" starts with a very African percussion style and evolves into a fiery fusion romp.  "Trabajo Para Egba" has a very Latin flavor to it.  Egba skillfully blends horns and winds in with the standard guitar, bass, drums and keyboards to produce a smooth yet unique brand of fusion.  These guys knew how to pull out all the stops, and their songs are packed with those soaring melodies that stick to your ears long after the disc has ended.  A must-own for all who love the classic sounds from the glory days of progressive rock and fusion, and this is light years better than the "fusion-lite" found cluttering up the used bins...

Egba - 1974 - Egba

Egba 
1974
Egba


01. Gröna Moln
02. Mogubgub
03. The Black And The White
04. Lisa Sover
05. Gbinti
06. Cirrus
07. Capsilon

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. 

Berndt Egerbladh - 1975 - African Suite

Berndt Egerbladh
1975
African Suite


01. Welcome To The Gambia
02. Masannah Ceesay
03. Fire Dance
04. Worksong
05. Love-Song
06. The Ballofon
07. High-Life

Alto Saxophone – Arne Domnérus
Bass – Georg Riedel
Clarinet – Erik Nilsson
Electric Piano – Berndt Egerbladh
Congas, Drums – Malando Gassama
Congas, Percussion – Ahmadu Jarr
Drums – Egil Johansen
Electric Bass – Stefan Brolund
Flute – Claes Rosendahl
Guitar – Rune Gustafsson
Marimba, Percussion – Jan Bandel
Piano – Bengt Hallberg
Soprano Saxophone, Tenor Saxophone – Lennart Åberg
Trombone – Lars Olofson, Sven Larsson
Trumpet – Americo Bellotto, Bertil Löfgren, Håkan Nyqvist, Jan Allan


Berndt Egerbladh - 1974 - Kristallen Den Fina

Berndt Egerbladh
1974
Kristallen Den Fina



01. Kristallen Den Fina 3:58
02. Umepolskan 2:15
03. Byssan Lull 6:21
04. Ann-Christines Visa 3:47
05. Liten Karin 3:51
06. Allt Under Himmelens Fäste 3:50
07. Staffansvisan 5:52
08. Om Dagen Vid Mitt Arbete 4:13
09. Barkbrödslåten 4:11
10. Jag Vet En Dejlig Rosa 3:12


Drums – Island Östlund
Guitar – Jan Tolf, Jan Schaffer
Piano, Electric Piano, Arranged By, Producer – Berndt Egerbladh
Saxophone – Anders Lindskog
Trombone – Bertil Strandberg
Trumpet – Jan Allan
Vibraphone – Jan Bandel


Recorded: June 4 - 6 and August 26, Europa Film studio 1.




Berndt Egerbladh - 1973 - Nybyggarland (Berndt Egerbladh Spelar Norrländsk Musik)

Berndt Egerbladh
1973
Nybyggarland (Berndt Egerbladh Spelar Norrländsk Musik)


01. Blå Vägen
02. Nigande Vals
03. Vaggvisa Från Västerbotten
04. Nybyggarland
05. Ja, Kom Då!
06. Men Liljorna De Växa Upp Om Våren
07. Härjedalspolska
08. Hjortronmyren
09. Glädjens Blomster

Bass – Sture Nordin
Congas – Ahmadu Jarr
Drums – Björn Ågeryd (tracks: A1, A4), Sten Öberg (tracks: A2, A3, B)
Electric Piano, Organ – Berndt Egerbladh
Flute, Sax – Ulf Andersson


Recorded Stockholm, Feb 1, 1973 (A2, A3, B3 to B5), and May 17, 1973 (remainder).


Berndt Egerbladh - 1968 - Plays The Organ With Swing

Berndt Egerbladh 
1968
Plays The Organ With Swing


01. The Beatmaker 3:59
02. Enough 3:37
03. Seven Strikes 3:04
04. Mr Red 3:56
05. The Blue Dragon 3:39
06. 6. 6. 66 3:15
07. Blue Eyes 3:21
08. Fuzz 3:13

Alto Saxophone – Lars-Göran Uhlander (tracks: A1, A3, B1, B2, B4)
Bass – Red Mitchell
Drums – Sten Öberg
Guitar – Rune Gustafsson
Liner Notes – Berndt Egerbladh
Organ – Berndt Egerbladh
Trombone – Ron Myers (tracks: A1, B1, B2, B4)
Trumpet – Bertil Löfgren (tracks: A1, B1, B2, B4)


Berndt Erik Egerbladh (May 1, 1932 – March 2, 2004) was a Swedish jazz pianist, composer and television personality.
Egerbladh was born in Transtrand. He grew up in Umeå and performed in local jazz and dance orchestras. He graduated as a teacher in 1954 and 1959, worked as such 1955–1967 and completed his education as a TV producer in 1969.
He was a producer at Swedish Radio's Channel 4 för Västerbotten 1967–1969, at Channel 2 television 1969–1985 and worked for SVT as a producer also hosting programs such as Två och en flygel (Two and a Grand Piano). He also published books, Remembering the 1940s and Remembering the 1950s, named for two TV series so titled along with one remembering the 1960s. He wrote the autobiographgical "... och så tog Berndt bladet från munnen" (... and Then Berndt Spoke Out).
From 1985 he ran his own record companies "Green Records" and "Berndt Egerbladh produktion AB". Egerbladh also wrote, arranged and performed on Doris Svensson's record Did You Give the World Some Love Today Baby in 1970.
Han was the son of Ossian Egerbladh and Amy Egerbladh née Johansson (1900–1964) and an uncle of Birgitta Egerbladh. Berndt Egerbladh married Gund-Britt Gunnarsson in 1955 and had daughters Monica and Ewa.
He died in Sollentuna, Sweden

Berndt Egerbladh and his Quartet - 1966 - They All Laughed When I Sat Down at the Piano

Berndt Egerbladh and his Quartet 
1966
They All Laughed When I Sat Down at the Piano... But, When I Started to Play!


01. Corny Waltz
02. Kiki
03. Sunday Morning
04. They Laughed At Me When I Sat Down At The Piano... But When I Started To Play!
05. Estremadura
06. This World Of Ours
07. Free Hands

Alto Saxophone – Lars Göran Ulander
Bass – Lars Gunnar Gunnarsson
Drums – Sten Öberg
Written-By, Piano – Berndt Egerbladh


After 1962 having introduced themselves to the album Fanfar! with Lasse Lystedt's quintet and then slate debuted in his own name with his own trio on the album Schizo, the 34-year-old teacher and pianist Berndt Egerbladh (1932 - 2004) stepped into the studio a couple of years later to record with this quartet this album as was originally published in 1966 on the Swedish record label Nashville. 

The least long album title was an easy rewriting of John Caple's classic advertising slogan from 1926, and the album has previously been reissued both at Cupol (1969) and at the American Jazzhus Disk (2013).

With Lars Westin as a producer, the album is reissued now, expanded with three alternative recordings, which means that the playing time has increased from just over 40 minutes to over an hour - even if the bonus tracks are not essentially different from the original songs. 

It is a very entertaining record with a spiritual and nice swinging jazz where the seven original compositions balance nicely between the modal and hardbop with splashes of improvisation. The bassist Lars-Gunnar Gunnarsson and the drummer Sten Öberg are an excellent rhythm pair, but it is above all the outspoken alto saxophonist Lars Göran Ulander and the chapel master himself who shines with his presence here.

Egerbladh is in his most loose way in the title track, which is also a solo song, while he in the ballad Sunday Morning shows a test of the lyrical incarnation he later made to his primary brand. Most marvelous, however, both he and the quartet in the album's two best songs; the melancholic Estremadura (which is also available as a bonus track) and the firefighting Free Hands. 

Berndt Egerbladh Trio - 1964 - Schizo

Berndt Egerbladh Trio
1964
Schizo


01. Schizo 5:10
02. My One And Only Love 3:55
03. Our Delight 3:20
04. Eva 4:30
05. Sarek 4:35
06. Mr. Idrees 3:52
07. Days Of Wine And Roses 5:02
08. Monique 4:00

Bass – Björn Alke
Drums – Sten Öberg
Piano – Berndt Egerbladh


Released on Swe Disc label 1965. Recorded on December 8, 1964.



Berndt Egerbladh is a remarkable man in Swedish jazz. He is working with his music only in his spare time, while his professional occupation is the history teachers. This of economical reasons. In his home town, he is also known for his howling, as well as for his music. He is one of the best bowling- and billiard players in the northern parts of Sweden. 

Each time famous jazzsoloists like Dexter Gordon, Idrees Sulieman, Kenny Dorham, Leo Wright and Lars Guilin has visited Umeå, they have all been very surprised and enthusiastic over Berndt Egerbladhs trio. 

- Europes best rhythm section, said Leo Wright 
- I wish I could play with this trio all the time, Idrees Sulieman said with a sigh. 

When Berndt Egerbladh was going to make this record, it was a sure thing, that the drummer would be Sten Öberg. They have been playing together for many years and they automaticly follow eachothers fancy ideas. But to pick out a bass player, was more difficult. Berndt Egerbladh decided that Bjorn Alice was the man, in spite of the fact that they had never played together be-fore. When you hear the record you really understand that Alke was the right pick. He fills his place in the group perfectly. The three nmsicians are on the same "wave-length" and are following eachother with a telepathic sureness. 

Sten Öberg 26, as well as Egerbladh, plays jazz only in his spare time. He is a very sensitive and spirituell drummer. The English Magazin "Jazz Monthly" was overwelrned after hearing him on an LP with Lars Lystedt Quintet and wrote: "Sten Öberg is one of the most exciting drummers to emerge from any European country for some time". 

Björn Alke 26, is the only one in the group that supports himself on his music. Right now he is playing with Lars Guilin and has earlier played with clifferent modern Swedish groups, He has studied violin, piano and harmonics for throe years at The Academy of Music. He intends to continue his studies to become a violinpedagogue. And that he knows how to treat a bow you can hear from his fantastic solo in "Our Delight". 

Berndt Egerbledh 32, started to play 1949. Then he started to paint. Colorful and abstract. He and two of his friends had an exhibition and the critics were very enthusiastic. He is still painting, but now with notes instead of pastel crayons. - I want to create a different effect. Fine jazz - rough jazz. 

His ability to change between different musical moods is showing very much in two of his own compositions. The wonderful meditative mood in "Sarek," is in sharp contrast to the pushing and nervous "Schizo". 

Still Egerbladh is showing a decided musical profile. In his music, whether it is "Sarek" or "Schizo" there is a distinctive beauty. 

"Mr Idrees" is a bop-theme and it could easily have been written by Thelonius Monk. The remaining originals "Monique" and "Eva" is two beautiful pieces of music, which he has dedicated to his two little girls, 6 and 8 years old. 

Berndt Egerbladh says: I once read about a writer who picked up his notebook and wrote down ideas he got, while doing something else, and it did not matter where he was, at the moment, I am not exactly composing while walking on the street, butt seldom sit down to write music. I just get ideas while I am playing, while I amen a wonderful mood. 

These wonderful "moods" are kept in his compositions and in his playing as well. Listen to the fantastic beautiful "Sarek" or to the trios wonderful versions of the ballades "My one and only love" and "Days of wine and roses". I am pretty sure that you would be just as impressed by the way this group is playing as Dexter Gordon, Leo Wright and Kenny Dorham were. 

Or maybe you will be even more impressed!! 

Ronny Nygren


Schizo was, as far as I know, Berndt Egerbladh's very first album. It reached us on LP 1965 and was produced by Roland Ferneborg at the small Swedish company SweDisc, which had been founded by Ferneborg and Sture Wahlberg a few years earlier. That Dragon (Lars Westin) has now ensured that it is again available, this time on CD, with the same front, inside text - and above all - music as the original is a minor cultural thing and a welcome reminder of one of our country's most desperate pianists and composers in the jazz industry.

The multi-occupant Berndt Egerbladh (1932-2004), who was actually a daler but grew up in Umeå, we first heard as a member of the legendary Lasse Lystedt's various formations. Not only as a pianist but at least as much as a composer. In addition, he was actually also a school teacher, author and, eventually, television producer.

At Schizo, who apart from the title number certainly does not give cause for his name, Berndt surrounds with his drum-playing old Umeå friend Sten Öberg and specially called bassist Björn Alke, two musicians who fit Egerbladh's mood and musical thought as a glove. That all three were inspired by Bill Evans' "Village Vanguard trio" is obvious. Berndt thus allows his two arms carriers to participate in music creation to the greatest extent. Most often it is about intelligent conversations on equal terms. And you are surprised over time that Öberg, considering that he, like Egerbladh was never a full-time musician, plays so incredibly polished. His responsive adherence and ability to embrace is striking. Even Alke, the full-time musician in the trio, turns out to be the perfect choice for interlocutors.

Trio offers eight numbers, five by Egerbladh, one by Tadd Dameron plus two standards, "My One and Only Love" and "Days of Wine and Roses". Everything is high class, but most interesting, and the record's absolute highlight, is Berndt's very beautiful tribute to the Lapland national park Sarek, which he completely logically also named "Sarek". 

Really wonderful early work from pianist Berndt Egerbladh – a player who's gotten a lot more global attention in recent years, but who sounds especially great on this rare date from the 60s! The album's a masterful showcase for Berndt's warm, fluid approach on the keys of the piano – a style that's really quite unique for the time, and a very strong precursor to modes that wouldn't show up that strongly on other scenes until the following decade. There's a really mature sound to the record, but one that never tries to hard to be "new", nor pushes its own sense of specialness too strongly. Instead, Berndt manages to stretch out spaciously, but in an understated way – a beautiful balance of color and sound that gives the record a really timeless quality.

Alpha Centauri - 1980 - 20.33

Alpha Centauri
1980
20:33


01. Sangria 4:24
02. Ten Minutes Later 4:00
03. Sirius 4:55
04. Tivoli 4:05
05. 3rd Kind 5:46
06. 20:33    4:04
07. Yellow Girl 4:38
08. Majdag 4:30

Recorded at Sweet Silence Studios, Copenhagen, June and November 1980

- Bo Stief (Bass)
- Ole Theill (Drums)
- Bjarne Roupe (Guitar)
- Jørgen Emborg (Keyboards)
- Palle Mikkelborg (Trumpet)


I bought this album on vinyl shortly after it was released in 1980 (Actually my grandfather did), and it's had a special place in my record collection ever since. Fans of early Pat Metheny will appreciate this Danish group's sound -- playful, evocative, and melodic. I was astounded to discover that this forgotten gem had been re-released in CD format. If the Pat Metheny Group's eponymous 1978 album is your idea of a great jazz record, then you'll likely appreciate "20:33," which was obviously influenced by it, yet brings many new influences to bear. Throroughly enjoyable, with fine performances throughout.

Ahmadu Jarr - 1975 - En dag i Afrika

Ahmadu Jarr 
1975
En dag i Afrika


01. Bassi 4:40
02. Temne 3:44
03. Lek Lay Kay 5:54
04. Congas-Bongos Och Tay Kay Ku Lay 1:41
05. Berättelse 2:31
06. Tillsammans 3:48
07. Lizi Morgan 6:12
08. En Dag I Afrika 5:58
09. Odofo 2:34
10. African Time 5:40
11. Say Ni Wah 2:53


Harmonium, Contrabass – Sture Åkerberg
Drums – Malando Gassama
Electric Bass – Guy Roellinger
Electric Guitar – Jan Tolf
Flute – Gunnar Lindqvist, Ulf Andersson
Lead Vocals, Percussion – Ahmadu Jarr
Percussion – , Alexander Vestin, Chief Mensah, Jan Tolf, Jenny Carlsson, Malando Gassama, Patrik Boman, Seife Vestin, Titiyo Jarr, Tomas Aspegren, Ulf Andersson, Ulrika Andersson
Saxophone – Ulf Andersson
Trumpet – Ulf Adåker
Vocals – Chief Mensah, Guy Roellinger, Jan Tolf, Malando Gassama, Ulf Adåker, Ulf Andersson



Ahmadu Jarr (sometimes Ahmadu Jah) was an in-demand Sierra Leonean drummer and percussionist, appearing on a myriad of Swedish 70's albums by Egba, Splash, Pop Workshop, Sundance, Folk Och Rackare and others, plus as many by 'commercial' artists. (He's also father of Swedish singers Neneh Cherry and Titiyo Jah.)

”En dag i Afrika” (”a day in Africa”) is a children's album of sorts (featuring children) on which Jarr sings and plays traditional music from Sierra Leone and explains the songs' place in his native country, often with a political twist. No progg content; the album is included here only because of Jarr's tight connections to the scene.