Jan Lundgren - Into the Night (Vinyl) November 26, 2021 ACT Music

The trio format has always been something of an ideal for Jan Lundgren. That particular buzz when communication between the musicians in a trio is direct, immediate and ever-present...when the trio keeps a constant sense of forward motion and development...when the players collectively remain open to the inspiration of every millisecond. These are the virtues which Lundgren sees as the recipe for the kind of openness, freedom, subtlety and excellence of a trio at its best.

Lundgren has had a trio in the classic piano/bass/drums format ever since 1995. In addition, since 2007, he has also broken the mould with the "Mare Nostrum" project, a congenial alliance with Sardinian trumpeter Paolo Fresu and French accordionist Richard Galliano. Critics hailed it at the time as the "first European supergroup". And Mare Nostrum has brought him even closer to his ideal. But, there again, Jan Lundgren is nothing if not driven and determined, and is probably at his most fulfilled when setting himself new challenges...

"I have always been on the look-out for strong voices in the European jazz scene, musicians who have a similar sense of adventure to mine and who can move in any direction," explains the 55-year-old. And he also happens to have a good platform to make that happen, in the form of the Ystad Sweden Jazz Festival. Lundgren founded the festival in 2010 and has been Director of it ever since. (Ystad, incidentally, is the small town on the south coast of Sweden which has been made world-famous by Henning Mankell's Wallander TV thrillers). The "Ystad Concert '' from 2015 with bassist Mattias Svensson and the Bonfiglioli Weber String Quartet, a tribute to the Swedish jazz pioneer Jan Johansson, is a case in point. As Lundgren expresses it: "There's always something new waiting for me in Ystad, something I've never tried before..."

And thus it was that fate took a hand at the 2020 festival – as it so often does in jazz. Jan Lundgren had programmed a performance by his own piano trio. But when the drummer had to cancel due to Corona travel restrictions, French saxophone luminary Emile Parisien stepped into the breach at very short notice and a completely unconventional trio was born, one of those unexpected challenges which Lundgren particularly relishes.

The day before the concert, Lundgren, Parisien and his Swedish compatriot Lars Danielsson met for the very first time. After a short rehearsal, all three of them had a strong feeling that luck was on their side. Jan Lundgren even uses euphoric expressions to describe it: “a trinity, divine providence!" And later, in the intimate setting of a small concert hall, where each and every listener is inevitably part of the process of creating the music, the magic of the new trio could really unfold. "Jazz is always about good melody, concise rhythm and strong composition," explains Lundgren. "Everyone brings their own personal imprint, starting as we do from such completely different musical backgrounds. And that's what makes it so exciting and thrilling. We enjoy immersing ourselves in each other's worlds – and creating new worlds in the process."

Lundgren, Parisien and Danielsson choose catchy tunes as the starting-point for their excursions together; there is an appealingly childlike sense of wonder, joy and discovery as these improvisations unfold. The opener "Glädjens Blomsters" (Flowers of Joy) is an old Swedish folk song; Emile Parisien's dark soprano sax gives it a feeling of melancholy that is truly touching. Lars Danielsson's hymn to his daughter "Asta" seems to take us to an echo-ey corridor full of harmonic vibrations. And then come a series of surprises, starting with the bassist introducing Parisien's "Preambule" with an emphatic introduction, and then the heart-warming "I Do", which Lundgren once wrote to accompany a stage play, and which the musicians find deft ways to illuminate. The pianist introduces "Schubertauster" in virtuoso romantic style  –  the tune is a homage to Franz Schubert composed by French accordionist Vincent Peirani.

Jan Lundgren owns a dog, a cute little Yorkshire Terrier/Chihuahua mongrel, and "A Dog called Jazze" has puppy-like liveliness and enthusiasm. The title track "Into The Night" is harmonically colourful and seems like it could be the soundtrack for Sweden’s traditional ‘Midsommar’ celebrations. Finally, Lars Danielsson has written a personal declaration of love for "Ystad", this little gem of a jazz festival, and the three musicians shower it with love, devotion and empathy.

The Ystad Sweden Jazz Festival will be held again in 2021, from 4 to 7 August. And once again, Jan Lundgren, Emile Parisien and Lars Danielsson will be getting together as a trio to offer the festival audience their exuberant musicianship, their wealth of experience and their simple enjoyment of being back together in this new group. The prospect, Lundgren says, makes him extremely contented: “I'm just so happy about the way this has turned out, and the fact that we can pick up again where we left off after this long pandemic break. I have the feeling luck is on my side for a second time!"

1 Glädjens Blomster (traditional) 04:23

2 Asta (Lars Danielsson) 05:10

3 Préambule (Emile Parisien) 09:34

4 I Do (Jan Lundgren) 04:49

5 Schubertauster ( Vincent Peirani)03:18

6 A Dog Named Jazze (Jan Lundgren) 04:48

7 Into the Night (Jan Lundgren) 06:46

8 Ystad (Lars Danielsson) 06:21

Jan Lundgren / piano

Emile Parisien / soprano saxophone

Lars Danielsson / bass

Recorded live in concert at Ystad Sweden Jazz Festival by Mattias Dalin (Eurosound AB), August 1, 2020

Mixed by Bo Savik, Jan Lundgren and Lars Danielsson at Tia Dia Studios, Mölnlycke, Sweden

Mastered by Bo Savik

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Larry Coryell & Philip Catherine - Jazz at Berlin Philharmonic XI: The Last Call (February 2021 ACT Music)

The wheel has come full circle with the album “Last Call”, featuring the duo of Larry Coryell and Philip Catherine. This live recording from the Philharmonie in Berlin captures the culmination of an evening under the banner “Art of Duo” in Siggi Loch’s “Jazz at Berlin Philharmonic” series.

After four decades, it marks the two guitarists’ return to the scene of one of their very first major triumphs. In 1976 they appeared as part of the band 11th House at the Berliner Jazztage at the same venue, but it was the moment when just the two of them stepped forward and performed as a duo which the “Die Zeit”’s critic hailed as possibly the high point of the whole festival. It was a decisive step in what would become a highly successful collaboration.

Coryell and Catherine subsequently made two superb studio albums: “Twin House” (Atlantic, 1977), recorded in London, and the very fittingly named “Splendid” (Elektra, 78), recorded in Hamburg. Both of these LPs have definitely stood the test of time. Both also had the same producer, who credi-ted on the sleeve as “Siegfried E. Loch”. As he wrote to both the musicians in November 2016 on the 40th anniversary of the recording of “Twin House”: “I am pleased that we are going to be celebrating this music in the concert on 24 January 2017 in Berlin." On “Last Call” Coryell and Catherine play four num-bers, followed by first-time appearances of duos consisting of Philip Catherine and pianist Jan Lundgren and then of Larry Coryell with bassist Lars Danielsson, plus a valedictory jam on “Green Dolphin Street” with all four of these musicians plus trumpeter Paolo Fresu.

Coryell and Catherine, two “brilliant, mutually attuned musicians” as the liner note for “Twin House” describes them, were born less than six months apart during the Second World War. Texas-born Coryell and London-born Catherine have different musical heritages, but their affinity and above all their complementarity shone through every time they played together. When playing as part of larger units, there would always be at least 20 minutes when the pair would perform as a duo.

They toured extensively in both Europe and the Americas in the late 1970s. For example their work together brought them into a project with Charles Mingus near the end of the bassist’s life, and they also made a quartet album with Stéphane Grappelli and Niels-Henning Orsted-Pedersen. One particular highlight was their appearance at the inaugural Sao Paulo Jazz Festival in September 1978, when their performance was seen by a TV audience of 17 million. Catherine still laughs when he remem-bers the reason why he and Coryell became instant celebrities and could – briefly but literally! – stop traffic in Brazil: the duo had their TV slot immediately before the screening of the Muhammad Ali-Larry Spinks fight in Las Vegas.

The evening of 24 January 2017 found both guitarists on ebullient form, as can be heard right from the opening track. With Larry Coryell on acoustic guitar and Philip Catheri-ne on electric, they launch themselves once more in to the arpeggiated work-outs of “Miss Julie” – the opening track of “Twin House” – with a verve and energy which belies their years. There is a divine moment at the end of “Manha de Carnaval” when Coryell is picking out a series of perfectly placed hushed harmonics over the most delicate accompani-ment from Catherine. And later, in “Bag’s Groove”, Coryell’s duo with Lars Danielsson, the quotes from other tunes fly joy-ously from his fingers: everything from Denzil Best’s “Move” from the “Birth of the Cool” to the opening bassoon solo from Stravinsky’s “Rite of Spring”.

And yet the palpable exuberance of this concert is now tinged with sadness: this was to be Larry Coryell’s very last appearance in a concert hall. Four weeks later, Coryell died in his sleep at the age of 73 after a two-night trio residency at the Iridium in New York. So what remains is the memory, and above all this last example of something very special indeed: what Siggi Loch once described as the “creative compatibility, the enthusiasm and mutual understanding” of two very great guitarists, Larry Coryell and Philip Catherine.

01 Ms. Julie (Larry Coryell) 7:14

Larry Coryell and Philip Catherine

02 Homecomings (Philip Catherine) 6:58

Larry Coryell and Philip Catherine

03 Manhã de Carnaval (Luiz Bonfá & Antônio Maria) 7:07

Larry Coryell and Philip Catherine

04 Jemin-Eye’n (Larry Coryell) 5:28

Larry Coryell and Philip Catherine

05 Embraceable You (George Gershwin) 4:54

Philip Catherine and Jan Lundgren

06 Ba gs’ Groove (Milt Jackson) 6:43

Larry Coryell and Lars Danielsson

07 Green Dolphin Street (Oscar Peterson) 9:31

Jam: Larry Coryell, Philip Catherine, Lars Danielsson, Jan

Lundgren and Paolo Fresu

Recorded live in concert by Klaus Scheuermann

at the Philharmonie Berlin (KMS), January 24, 2017

Mixed and mastered by Klaus Scheuermann

Larry Coryell guitar

Philip Catherine guitar

Jan Lundgren piano

Lars Danielsson bass

Paolo Fresu trumpet

In memory of Larry Coryell (Apri l 2, 1943 - February 19, 2017) his last concert

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Paolo Fresu / Richard Galliano / Jan Lundgren - Mare Nostrum III (ACT MUSIC 2019)

The old saying that ‘all good things come in threes’ might be a cliché with no particular logic to it, but as a way to describe the virtues of Mare Nostrum, it’s right on the money. Twelve years ago, Sardinian trumpeter Paolo Fresu, French accordionist Richard Galliano and Swedish pianist Jan Lundgren, all from the upper echelons of European jazz, formed their trio. Each has his roots in the musical tradition of his home country, and each has used it to develop his own musical language. These are musicians who bring their individuality and inspiration to a multitude of projects in modern jazz, and so transcend borders and connect genres. All three men have poetry in their playing. Their love of melody binds them together, and does so more than ever in this new third album.

In fact, "Mare Nostrum III" completes a trilogy of albums. Right from the beginning of their decade-long collaboration, the group has had the idea of recording an album in each of their home countries. They made the first in Italy in 2007, and it took these busy musicians until 2016 to go to France and to record the second. Their third destination was Sweden, and the Nilento Studio in Gothenburg. "Once again,” says René Hess, the Swiss producer of the album, says, "it was a pure pleasure to see the sheer ease with which Paolo, Richard and Jan can create such great music."

The first thing the listener notices is the natural, spontaneous way the thread of the musical conversation unfolds. Their affinity in soul and spirit is immediately recognizable. This group of equals is a version of Europe which is united, democratic, and brings everything together. Each of the three contributed four original compositions plus a favourite piece. It is mostly possible to work out by listening who has written the pieces, and yet the trio translates into a common language; it’s a language which all have a thorough understanding of, and a genuine feeling for.

The album begins with Richard Galliano's "Blues sur Seine". It’s a plaintive piano melody reminiscent of Satie, or possibly Grieg. It’s joined by a veiled trumpet line before high notes from a lamenting accordion take over. Paris is in there, but so are fjords, Mediterranean shores and Basin Street in New Orleans. The whole thing is pure simplicity and enchantment. Characteristically Italian pathos then emerges in Fresu's "Pavese", in a natural frame of spontaneous soundscapes. Lundgren's "Love Land" has lively, cheerfully intertwining voices and a catchy theme that conjures up the magic of Swedish folklore. Then all three bring their persuasive lyricism to two of the most bittersweet melodies ever written, Michel Legrand's "The Windmills Of Your Mind" and Eduardo Di Capua's "I'te vurria vasà".

Three pieces follow that in each case deal with a very personal memory. With the wonderful "Le Jardin des Fées", Richard Galliano honours the memory of his compatriot and friend, the much-missed great jazz violinist Didier Lockwood. In "Del Soldato in trincea" Paolo Fresu recalls one of his favourite films, Ermanno Olmi's "Torneranno i prati". And Jan Lundgren strolls through the streets of "Ronneby", the small Swedish town where he grew up, with a strongly rhythmic blues-infused folk music melody. All three then bring Quincy Jones' love theme from the film "The Getaway" back to their own shores. Then follows Fresu’s concentrated "Human Requiem", played entirely on muted trumpet, and the slow sustained concentration of Galliano's "Letter To My Mother". In the final tracks, Lundgren's "The Magic Stroll", reminiscent of the musicals, and Richard Galliano's classically inspired "Prayer", with the feel of rolling along on the waves of the ocean, these three exceptional musicians have found a perfect symbiosis.

With "Mare Nostrum III", Paolo Fresu, Richard Galliano and Jan Lundgren have once again created a wonderful ballad album. Through their music they rise way above that old discussion about whatever "jazz" might be nowadays. What they have achieved instead is to bring the sound of Europe to life.

Paolo Fresu / trumpet & flugelhorn

Richard Galliano / accordion, bandoneon & accordina

Jan Lundgren / piano

1 Blues sur Seine 4:53

2 Pavese 4:56

3 Love Land 4:23

4 The Windmills of Your Mind 3:37

5 I'te vurria vasá 4:33

6 Le jardin des Fées 5:12

7 Del soldato in trincea 2:14

8 Ronneby 3:36

9 Love Theme from 'the Getaway' 3:09

10 Human Requiem 4:30

11 Letter to My Mother 5:09

12 Love in Return 4:26

13 Perfetta 3:17

14 The Magic Stroll 2:59

15 Prayer 4:13

Jan Lundgren - Potsdamer Platz (ACT MUSIC 2017)

Pianist Jan Lundgren makes music like a brilliant architect. If he were to build a house, it would – in the words of the song – be a very very very fine house. And it would have all his hallmarks about it. It would show his deep understanding of both tradition and modernism, together with his preternatural instinct for bringing the two together. It would visibly convey his unique way of blending the very best of American design and construction with immaculate European style and taste. To extend the metaphor, Lundgren's building on several floors would be a delight to inhabit, with rooms that have fascinating shapes, cosy corners, clear lines, rooms that would contain artefacts and objets trouvés which would allow nostalgia to well up in the visitor's mind. There would also be a spacious loft with the room to play, to improvise and to wander. Ever since the early days of his career, Lundgren’s artistry has been defined by change and renewal, and yet he never loses sight of the past. His album “Potsdamer Platz” is a statement that is personal, a faithful portrayal of the unique perspective from which he experiences and performs jazz.

One German critic, writing for the highly-regarded DPA (German press agency) recently described Jan Lundgren as “a man who can, quite simply, do everything.” The pianist's starting point is his rootedness in the American jazz piano tradition, which was what first brought him together with mainstream players such as Harry Allen and Scott Hamilton. And yet his music is also deeply infused with the musical language of his native Scandinavia. He is a superbly skillful, classically-trained musician who knows the Western tradition well, but that heritage always co-exists quite naturally in his music with swing, with Nordic melancholy and a quicksilver impressionistic wit.

In Lundgren's different projects, he has shown a variety of ways to carry European musical traditions into classic jazz. In “The Ystad Concert”, he has followed the paths travelled by Swedish jazz piano icon Jan Johansson, but what he left behind were his own new and distinctive footmarks. “European Standards” has demonstrated that jazz has long since moved from the USA, and has developed its own young cultural heritage back on the old continent. And in “Mare Nostrum” with Sardinian trumpeter Paolo Fresu and French accordion player Richard Galliano, Lundgren has created a unique, distinctive and appealing “sound of Europe.”

With ”Potsdamer Platz”, Lundgren goes further in this direction and has put down a significant marker. All of the pieces (except “Tväredet”) are his compositions. These are personal works, which flourish and blossom in this perfect setting. Lundgren has assembled a group which can really own these pieces, and give them stylistic heft and meaning. ”What I wanted,” says Lundgren, ”was to work with these people, my favourite musicians, and to make something new out of these tunes through the process of interaction. Don't get me wrong, I have nothing against concept albums, in fact I have made a few; but here, it was as if we only realised what the concept actually was after we had done it.”

So who is in this quartet of Jan Lundberg’s favourite musicians? Melodic duties are the domain of the great Finnish alto saxophonist Jukka Perko. In the rhythm section, the drummer is the Dane Morten Lund, who recently instigated and made a very well-received album with Lars Danielsson and Marius Neset. Lund is a stalwart: he was already occupying the drum chair of Jan Lundgren's regular trio in 2000. On the bass is Lundgren’s fellow Swede Dan Berglund, who for a long time played exclusively for the renowned Esbjörn Svensson Trio. He and the pianist have known each other for a long time, but Lundgren has never actually shared the stand with him before. “I've had the idea of this band in my head for a long time. Four years ago, we met at the festival in Milan and arranged the project,” recalls Lundgren. As so often happens, it took quite a while to put the idea into practice, but in this case the wait has been worth it: musicians who click together into a unit as well as these do are a very rare phenomenon indeed.

These four musicians dispensed with all written music right from their first meeting. The joyous title track “Potsdamer Platz” is bursting with positive energy. “Ballad no. 9” then takes the listener right to the opposite end of the emotional spectrum. With its plaintive melody, it demonstrates what a capable and emotional songwriter Lundgren can be. “Lycklig Resa,” the Swedish classic, is then given an extremely cultivated treatment. It starts lyrically, but quickly hunkers down into a groove so solid you could drive your Volvo over it. In “Twelve Tone Rag”, things then take off in a virtuosic and tricksy direction, with a supporting melody built on a twelve-tone note row which has been craftily inserted into a bebop frame. There is a gleeful lightness of touch and a carefree spirit pervading this album, even if it does go through different moods. “On The Banks Of The Seine” is a melancholic and romantic excursion, whereas “Bullet Train” is febrile and funky. There are moments when Balkan music is transformed into folk jazz (“Dance Of Masja”) or when a more sombre mood is created and held, such as in “Song For Jörgen”.

The one thing that definitely could not be said about Lundgren and his fellow musicians on this album, is that they have played it safe in any way. All four of them just dive into the torrents of this music, try out new things, they are bold in everything they do, and yet the music never tips over into inaccessibilty. There seems to have been a magical, providential hand guiding this album too, if the way the choice of title is anything to go by. “I hadn’t thought up a name either for this piece or for the whole album. We were recording at the Hansa Studios at Potsdamer Platz in Berlin, and one day when I woke up in the hotel, I suddenly realised I’d got it: “Potsdamer Platz.” The name fits perfectly with its jaunty, bright lights, big-city feel, to its funk-march character. This is a tune definitely more about strength than it is about beauty.”

“Just as the reconstruction of Potsdamer Platz is, in a sense, a symbol of the new Germany,” says Lundgren. “as the title here it stands for the kind of positive force that I feel should always emanate from music. Music should be on the move, taking us somewhere.” This new album shows how well Lundgren's new quartet has not only fitted together, but has also grown together, and now started to move forward with a clear and strong common purpose.

01. Potsdamer Platz (Jan Lundgren)

02. No. 9 (Jan Lundgren) 04:42

03. Lycklig Resa (Jan Lundgren) 06:03

04. Bullet Train (Jan Lundgren) 05:23

05. The Poet (Jan Lundgren) 05:33

06. Never Too Late (Jan Lundgren) 04:49

07. Twelve Tone Rag (Jan Lundgren) 04:23

08. Song For Jörgen (Jan Lundgren) 05:53

09. Dance Of Masja (Jan Lundgren) 06:25

10. On The Banks Of The Seine (Jan Lundgren) 04:43

11. Tväredet (Per Ödberg) 03:53

Jan Lundgren / piano

Jukka Perko / alto & soprano sax

Dan Berglund / bass

Morten Lund / drums

All compositions by Jan Lundgren, 

except 11 by Per Ödberg

Recorded by Arne Schumann at Hansa Studio Berlin, May 3 & 4, 2015

Mixed and Mastered by Arne Schumann

Paolo Fresu, Richard Galliano & Jan Lundgren - Mare Nostrum II (2016)

C’est une histoire de coïncidences. De marées hautes, de traditions. De Nord et de Sud, de Baltique et d’Adriatique. Mare Nostrum est un poème en trois temps, une collaboration des plus fortuites entre l’accordéoniste français Richard Galliano, le pianiste suédois Jan Lundgren et le trompettiste italien Paolo Fresu. Un parcours sinueux en contact avec une Méditerranée paisible, bercail d’une musique évocatrice, où les genres les plus surprenants se rencontrent, s’entrelacent. Au loin, on entend des échos de Charles Trenet, des fragments de chansons traditionnelles suédoises et des airs baroques à la Monteverdi. Une douce mélancolie caresse les compositions de ce trio d’explorateurs qui racontent cet instant de grâce précédant l’orage.

Paolo Fresu / trumpet & fluegelhorn

Richard Galliano / accordion, bandoneon & accordina

Jan Lundgren / piano

01. Apnea (Fresu, Paolo) 05:05

02. Blue Silence (Lundgren, Jan) 05:09

03. Aurore (Galliano, Richard) 03:57

04. Christallen Den Fina (trad., arr. by Lundgren, Jan) 05:49

05. Giselle (Galliano, Richard) 05:09

06. E Varie Notti Tre Vie Notai (Fresu, Paolo) 04:30

07. Farväl (Lundgren, Jan) 04:47

08. Gnossienne No. 1 (Satie, Erik, arr. by Galliano, Richard)) 04:47

09. Lili (Galliano, Richard) 03:42

10. Leklåt (Lundgren, Jan) 04:02

11. Le Livre D’un Père Sarde (Fresu, Paolo) 04:11

12. Si Dolce È Il Tormento (Monteverdi, Claudio, arr. by Fresu, Paolo) 06:11

Produced by René Hess / HR Music

Executive Producer: Siggi Loch

Recorded, mixed and mastered by Gérard de Haro

at Studios La Buissonne, Pernes-les-Fontaines (France), February 23-26, 2014.

Assisted by Nicolas Baillard

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Nils Landgren with Janis Siegel - Some Other Time (A Tribute to Leonard Bernstein) 2016

The great Leonard Bernstein would recognise a kindred spirit in Nils Landgren, the Swedish trombonist, singer and all-round musical prodigy who conceived this expansive tribute to him. Combining his own jazz quartet, the voice of Janis Siegel (Manhattan Transfer), the Bochum Symphony Orchestra and star arranger Vince Mendoza, Landgren achieves exactly the right blend of classical and popular modes. The 12 pieces include tunes from West Side Story – among them a version of America for multitracked trombones – with a gorgeous version of Lonely Town from Siegel and, to close, Landgren’s own warm, elegant improvisation on a melody from Bernstein’s 1971 Mass.

01. Overture: America

02. Some Other Time

03. Cool

04. Maria

05. Somewhere

06. The Story Of My Life

07. One Hand, One Heart

08. Something's Coming

09. Lonely Town

10. A Quiet Girl

11. Lucky To Be Me

12. A Simple Song

Nils Landgren / trombone & vocals

Janis Siegel / vocals

Jan Lundgren / piano

Dieter Ilg / bass

Wolfgang Haffner / drums

Members of the Bochumer Symphoniker

arranged & conducted by Vince Mendoza 

Recording Information

Produced by Nils landgren

Curator, Design & Executive Producer: Siggi Loch

Recorded by Adrian von Ripka & Nico Schütte at Sound Studio N, Cologne, November 1 - 4, 2015.

Recording assistance: Georgi Topalov, Hans-Günther Kasper & Uli Zimmermann.

Mixed and mastered by Adrian von Ripka at Bauer Studios, Ludwigsburg,

November 2015, assisted by Hannes Fritz

Additional vocals and trombone recorded by Lars Nilsson at Nilento Studio 

Photo (Nils Landgren with Janis Siegel) by Lutz Voigtländer

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Scott Hamilton & Karin Krog - The Best Things in Life (2016)

Stunt Records fourth installment of the American figures, Scott Hamilton's and Norway's world famous diva, Carlin, Krogh's co-star!

So far as well as the program celebrates the 100th anniversary of the birth of Billie Holiday sings the great American Songbook such as Ray Henderson, Jimmy McHugh, Matt Dennis, Harry M Woods, and Errol Garner, Jan Lundgren and Nordic champion who pick up the rhythm section. Tenor Scott Hamilton Carlin Krogh and increase the depth of the warm shell enveloping as well familiar with the ethereal piano Jan Lundgren gets dumb. Is the emergence of Nice played by the great artist of the two men have created the history of jazz.

Karin Krog, vocals

Scott Hamilton, tenor sax

Jan Lundgren, piano

Hans Backenroth, bass

Kristian Leth, drums

01. The Best Things In Life Are Free

02.I Must Have That Man

03.Will You Still Be Mine

04.How Am I To Know

05.Don't Get Scared

06.Ain't Nobody's Business

07.We Will Be Together Again

08.Sometimes I'm Happy

09.What A Little Moonlight Can Do

10.Shake It, But Don't Break It!

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Harry Allen / The Jan Lundgren Quartet - Quietly There (2015)

Allen, the American master of melodic, swinging tenor saxophone, and Lundgren, a Swedish pianist of infinite subtlety, make a good partnership. They think alike and clearly enjoy each other’s playing as they immerse themselves in these nine songs by Johnny Mandel. Some of them, like the theme from M*A*S*H, are not obvious jazz material, but Mandel, like his contemporary Henry Mancini, has always been a jazzman at heart and it shows. Two numbers especially, Emily and The Shining Sea, evoke really inspired performances. Bassist Hans Backenroth and drummer Kristian Leth complete the quartet, applying an appropriately light touch. Read more...

01. Sure As You Are Born

02. Emily

03. The Shining Sea

04. Quietly There

05. A Time For Love

06. Cinnamon And Clove

07. The Shadow Of Your Smile

08. Just A Child

09. Suicide Is Painless

Harry Allen, tenor sax

Jan Lundgren, piano

Hans Backenroth, bass

Kristian Leth, drums

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SONIA