Johnny Mbizo Dyani - 1987 - Together

Johnny Mbizo Dyani 

1987

Together

01. Together

02. Johnny's Kwela

03. Marabi Soweto

04. High Priest

05. Kalahari

06. Crossroads

07. Tula Tula

All compositions by Johnny Mbizo Dyani, except 7, traditional, arranged by JMD.

Johnny Mbizo Dyani - keyboards, vocals

Dudu Pukwana - altosax, whistles

Virimuje Shimmy Radise - tenor sax

Kenny Hakansson - electric guitars

Hassan Ban - congas

Bosse Skoglund - drums

Felix Perrera - South African trad. harp

Produced by Stanley Koonin at Sound City Studios, Stockholm, Dec.1979-Jan.1980.

This was released posthumously on the Cadillac label in 1987 and label head John Jack is listed as executive producer, though whether he may have had anything to do with the original sessions is not clear.

Following Dudu Pukwana's Zila, here's Johnny Mbizo Dyani's Witchdoctor's Son. This is not to be confused with the Witchdoctor's Son that came out on the Steeplechase label with a different line-up, though with Dudu Pukwana in both. This here is a Swedish - South African crew assembled by Mbizo for a session in Stockholm in late 1979 - early 1980. Most of the South Africans on the record were living in Sweden at the time, including Mbizo while Pukwana flew in from London for the session. Kenny Haakonson, guitarist with the prog rock outfit Kebnekajse was roped in as well as drummer Bosse Skoglund, old chums of Mbizo.

What we have here is one side of Mbizo compositions drawing on the popular SA music of the 50s and later, one traditional (in fact the same tune as the one on the Zila album posted previously), one quickie fusion number and then the odd one out, I thought, "Kalahari", named after the Botswana desert. Here Haakonson gets to do a proggish uptempo piece which would not out of place on a Kebnekajse record from the 70s, though normally not associated with Mbizo, though . Mbizo has vacated the bass for keyboards and handles vocal duties on this record.

Kebnekajse - 1978 - Vi Drar Vidare

Kebnekajse

1978

Vi Drar Vidare

01. Friheten (6:14)
02. Prelud (1:32)
03. Jakten på Vivaldi (5:28)
04. Attitydfasader (2:11)
05. Oändliga möjlighet (5:52)
06. Klubban (2:28)
07. Stigfinnaren (4:53)
08. Ur gropen I hållet (0:58)
09. Jag väver av toner (5:59)
10. Stupet (3:57)
11. 7:an (1:12)

Mats Glenngård / vocals, guitar, violin
Per Lejring / acoustic & electric pianos, organ, Moog, vocals
Thomas Netzler / bass, Taurus pedals, vocals
Pelle Holm / drums, vocals

Hassan Bah / congas, timbales, percussion

This is a surprising album as it represents a completely new sound for Kebnekajse, for better or for worse. The group experienced some line-up changes prior to this album when, among others, guitarist and front man Kenny Håkansson left. Instead, this is a very keyboard-heavy album, something Kebnekajse never had employed before. Unfortunately, this album sounds very much of it's time (Late 70s Sweden, this includes the cover.) and sometimes quite close to mainstream music of then. Otherwise it's a bit lightweight in the vein of THE ALAN PARSON'S PROJECT".

Particularly the first track, "Friheten", sounds as it could have participated in Eurovision Song Contest of '79. "Jakten på Vivaldi", on the other hand, sounds more like the Kebnekajse I know. In general they make use of more conventional lyrics in a way new to Kebnekajse; almost half of the tracks are with vocals and it definitely contributes to the mentioned dated mainstream sound. The instrumental tracks are better but overall it's not that bad.

''Vi drar vidare'' marks the end of an era for the Swedish Folk/Prog pioneers with Kenny Håkansson leaving the band (apparently Netzler took over also the guitar duties), while for the first time keyboards are added via the coming of Per Lejring.So, this is old and new Kebnekaise in the mix, nice Scandinavian melodies with somewhat stripped-down guitars and efficient violin but also new entries with keyboard-flavored Fusion (organ, electric piano, synths) and Pop/Prog sounds, which work pretty fine.Sounds like a product of the time for the most of its part, but there was no direction to abandon their intricate musical themes.This album still contains interesting, Nordic-showered vibes and has plenty of instrumental exercises.They did hold on in my opinion.

Kebnekajse - 1977 - Elefanten

Kebnekajse

1977

Elefanten

01. Ingenting (4:41)
02. Saab-Mustang (5:33)
03. Lautluft (4:53)
04. Elefanten strävan met Nirvana (6:18)
05. Grabbarnas afton (12:16)
06. Halling från Ekstränad (6:45)

Kenny Håkansson / guitar, whistling, vocals
Mats Glenngård / violin, mandolin
Thomas Netzler / bass

Pelle Holm / drums (1)

Pelle Ekman / drums (4), vocals

Hassan Bah / congas, timbales, percussio

"Camel with Bongos!" - This was gonna be my review of Elefanten, Kebnekaise's excellent fifth LP but as this was my first attempt at a ProgArchives.Com Review i thought I'd better make the effort and write a proper one. This group, and Lp, has a lot going for it and places Kebnekaise squarely within the Swedish tradition, prog with complex dynamics and a folk tinge, similar to their compatriots Kaipa and Ragnarok. While a folky overall feel dominates the playing is more spirited than than say Ragnarok's first, mainly due to the strange instrumental line-up that Kebnekaise boast, which singles them out amongst the Swedish acts. Having instruments similar to Amon Duul II's, i.e voilin and a lot of percussion, but their sound is very different than the Duul. What strikes one first about the Lp is the great drumming by, and the wealth of extra percussion give it a dynamism missing in other Swedish prog. I've read that the musicians were very interested in African drumming and poly-rythmic textures, and it does seem sometimes like Osibisa have momentarily invaded the proceedings, but crucially, the percussion never seems to overwhelm the mix, but is intuitively placed. The drumming style is full of impressive little fills and trills, calling to mind Arti E Mesteri's drummer. What most impresses me about this LP though is the great guitar work by Kenny Hakansson, most known internationally for his work with Bo Hansson. Going back to my initial gambit one could say the style is very close to Camel, with Hakansson's plnaget and melodic guitar stylings recalling Snow Goose-era Latimer, as well as Dave Gilmour. The violin gives it a Mahavishnu orchestra feel at the most dramatic moments, with some funky runs on bass, and some extended percussion workouts. Overall, a great addition especially if the Swedish sound pleases you. Kebnekaise bring a little dynamism and dare I say it "funk" to the inscribed Swedish folk- prog sound. Also like most Swedish acts they also had an eye firmly directed on traditional indigenous folk musics aswell, and one of the highlights is their arrangement of a traditonal tune that finsihes Side Two. Side one's shorter tracks (there are just two on Side Two) show a great virtuosity. the best of Camel is really the nearest similarity I can think off, but Kebnekiase are so much more as well. I for one will be checking out other work by them. Originally Released on Silence label SRS 4642.

Elefanten is Kebnekajse's 5th album and represents a wonderful return to form, after the somewhat middling African/world music affair Ljus fran Afrika. Elefanten is about as close to jazz rock as Kebnekajse would ever get. It's a particularly strong outing for guitarist Kenny Håkansson, who lights it up everywhere he can. Also worth noting the strong violin play from Mats Glenngård adding the folk touch one would expect to hear on an earlier Kebnekajse album. This is a very fine work, that for whatever reason isn't as highly revered as I would expect. I think it's their best album along with their self-titled second.

Kebnekajse - 1976 - Ljus Fron Afrika

Kebnekajse 

1976

Ljus Fron Afrika

01. Doberela woulo (2:47)
02. Silifé (7:14)
03. Bèlé mama (8:21)
04. Bounsé na bounsé (5:10)
05. Tigerdance/Wind (6:28)
06. Brudarnas parti (5:57)

Kenny Håkansson / guitar, vocals
Mats Glenngård / violin, vocals
Thomas Netzler / bass, vocals
 Pelle Ekman / drums, vocals
Hassan Bah / congas, timbales, congoma, vocals

Christoffer Okonkwo / soprano & tenor saxes, vocals

Well Paul Simon had ‘Graceland’, Manfred Mann had ‘Somewhere in Afrika’, and Osibisa

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 had – well, pretty much their entire discography. And Kebnekaise took their own stab at an African-themed album, in this case ‘Ljus från Afrika’ which seems to wander between Saharan and Afro-Caribbean folk, with a few touches of both modern rock and what sometimes come across as mildly Celtic-sounding vocals (sung in Swedish as near as I can tell). Not that there’s a whole lot of singing though, as this is still principally an instrumental band.

I’m not going to spend a whole lot of time explaining this record; suffice it to say that it is clearly for collectors-only, as casual fans of Kebnekaise and of progressive folk in general won’t likely find this to be what they likely expect from a seventies Swedish folk band. The syncopated percussion, hand drums, chanted and layered vocals, and heavy world/ethnic feel to the music are one more example of the experimental nature of this band, but are a bit outside the norm even for a Swedish prog folk band (and I say that knowing several Swedish-language folk bands who have adopted liberal use of world sounds and instruments in their music).

The first album from these guys was a fairly straight-ahead rock offering, while their second was a collection of Latin-adapted traditional folk standards, and the third in the vein of more well-known European folk music. This time they leave the musical continent completely, except for in a few places like “Bounsé na Bounsé” where some tasty violin accents the pulsating dance rhythms quite well; or on “Tigerdance/Wind” where some spacey sound effects and heavy guitar add a different dimension (more violin here as well). The most realistic-sounding tune is “Silifé”, and even here the music could be as easily mistaken from something from Cuba or the Dominican Republic as from Saharan Africa.

And the band doesn’t completely get away from their earlier rocking sound, as evidenced mostly in the closing track “Brudarnas Parti” with its heavy guitar, fat electric bass line, and sassy brass (saxophone). This is a tune that would be just as at-home on a dance floor as it is on the band’s record album.

But for the most part this sounds a bit like Osibisa tunes played by white men, which is to say the rhythms are interesting but the overall mood seems a tad bit measured. This is not authentic African music, and like Manfred Mann’s similar attempt it shows. Unlike Mann though, these guys gave things a decent and honest effort.

Kebnekajse - 1975 - Kebnekajse III

Kebnekajse

1975

Kebnekajse III

01. Leksands Brudmarsch (4:17)
02. Polska Från Härjedalen (3:06)
03. Eklundapolskan (4:14)
04. S:t John (3:48)
05. Skänklåt Till Spleman (3:06)
06. Polska Från Bingsjö (3:15)
07. Balladen Om Björnbär Och Nätmelor (13:07)
08. Mariamá (3:05)

Bonus Track on 2001 CD release:
09. Gånglåt Från Dala-Järna (7:54)

Kenny Håkansson / guitar, violin, vocals
Ingemar Böcker / guitar, sambaros
Mats Glenngård / guitar, fiddle, mandolin, vocals
Pelle Lindström / fiddle, harmonica, tambourine, vocals
Thomas Netzler / bass, drums, vocals
Göran Lagerberg / bass, vocals
Pelle Ekman / drums, vocals

Hassan Bah / congas, timbales, congoma, klocka, vocals

After such a stunning second album, I was hot on the heels in finding their next album, but when I did find it, deception was at hand. Do not get me wrong this album's content is a pure and excellent folk album, but I was expecting amore of what Kebnekaise had given us on their previous album, this superb fusion of folk, psych rock and Latino beats. So past the initial deception, this album is not quite the same, but it is sticking (much) closer to trad folk, which of course makes it of a much lesser interest for the proghead.

Although we can still feel the influence of their superb preceding album, as in a few tracks, Harjedaien or Eklundapolska , the album could be seen as serious step backwards if one did not understand that Kebnekaise's goal was a return to origins. You can get a better idea of this by listening to Spelman or Bingsjo. However, the centrepiece of the album is the 13-min Bjornbar, which makes the album worthwhile even if not quite as essential as their previous effort.

Still definitely worth the occasional spin in your deck, this album is for confirmed fans of folk and by the same path of folk prog. But start with their second album or better yet try the electric mountain compilation. Further albums will be more world music-influenced, just thought I'd warn you.

Kebnekajse - 1973 - Kebnekajse

Kebnekajse

1973

Kebnekajse

01. Rättvikarnas gånglåt - Med Turid (5:03)
02. Horgalåten (6:16)
03. Skänklåt från rättvik (8:30)
04. Barkbrödlåten (4:18)
05. Comanche Spring (16:14)

Bonus track on 2001 remaster:
06. Horgalåten (Live) (14:19)

Kenny Håkansson / guitar
Ingemar Böcker / guitar
Mats Glenngård / guitar, fiddle
Pelle Lindström / guitar, fiddle, harmonica
Thomas Netzler / bass
Göran Lagerberg / bass
Pelle Ekman / drums
Gunnar Andersson / drums
Hassan Bah / percussion

With:
Marit Turid Lundqvist / vocals (1)

Quickly abandoning their pure hard prog leanings of their first album, Kebnekaise drastically changed direction by heading towards Swedish folk and making a stunning album that can be considered a masterpiece of progressive folk of Continental Europe. This group alternated between nine and eleven musos at the time (nine in this album), allowing for much diversity in their given directions. The amazing thing is that none of the tracks on this album (and the next one for that matter) are original material: every single track is traditional folk adapted, reprised, deconstructed and rebuilt to give a superbly modern progressive folk.

If the opening track (you'll allow me not to write its name, because I can only butcher it) is rather traditional jig-type track, right from the second Horgalaten (there goes my integrity ;-) track, the album plunges you into a transient state where the dramatic tensions of the psych folk starts on a very gradual crescendo, slowly heading for the climax with that "oh, so subtle!" change from acoustic to electric instruments. The following Skanklat (I maybe just end up with a Swedish fatwah against me) is yet another slowly developing crescendo track with highly communicative tension (much like Fairport Convention did on their longer tracks early in their career), and slowly building up to some really orgasmic guitar lines (actually they are two collaborating like Betts and Allman) and a delicious end. The following Bradbrodslaten (I've just gotten a life insurance and my will is in the envelope below the buffet, honey ;-) is a relatively well-known theme that is obviously common to a few cultures and although quite nice, does not raise your enthusiasm quite the same way as the previous tracks.

But nothing was to prepare you for the 16-min+ Comanche Spring, the only non-trad track written by guitarist Ingmar Bocker (dying at the hand of a Viking, there is a glorious death ;-), which is simply superb, with its lengthy musical interplay between violin, guitars, the whole thing underlined by a double percussion attack, sometimes getting close to Santana or Allman Bros. The comparison to Allman is not innocent here, as in some weird kind of way they (Kebnekaise) would resemble a Swedish folky equivalent of the great Brothers Band. Even if it is fully accomplished, the track is calling for more of the same and unfortunately the record is over. What a shame.

Truly one of the best examples of what folk prog has to offer, this album is a unique blend of folk, rock, psych and improvisation including Latin-beats, Kebnekaise's second album is a must hear for all progheads. To be ranked along with Algarnas Tradgard's debut album as Sweden's most obscure lost gems.

Competent, intricate folk rock with a distinctively Swedish sound. Some aspects of the production and sound suggest that Kebnekaise was keeping up not just with the American folk rock greats but also the likes of the UK's own Fairport Convention, but at the same time they didn't let this dilute their own personal band identity. At its best when the band let themselves sprawl a little, as on Comanche Spring, the album feels like it's carrying forward the ideals of 60s-era counterculture folk rock without rooting itself in the aesthetics of the previous decade, with the band successfully balancing accessible melodies with progressive song structures.

Kebnekajse - 1971 - Resa Mot Okänt Mål

Kebnekajse 

1971

Resa Mot Okänt Mål

01. Tänk på livet (4:58)
02. Frestelser I stan (4:47)
03. Orientens express (2:06)
04. Resa mot okänt mål (7:14)
05. Jag älskar sommaren - solen och varma vindar (10:47)
06. Förberedelser till fest (3:33)
07. Kommunisera! (5:12)

- Kenny Håkansson / vocals, guitar, composer
- Rolf Scherrer / guitar
- Bella Linnarsson / bass
- Pelle Ekman / drums

With:
- Mats Glenngård / backing vocals
- Gunnar Andersson / backing vocals
- Pelle Lindström / backing vocals
- Thomas Netzler / backing vocals

Out of the ashes of Mecki Mark Men was borne this hard rock band that would soon change totally of musical direction after the release of their debut album. Actually the hard rock comes from the third or fourth line-up of MMM around the time of their third album, a direction fairly different from the psych/prog of their debut album. Returning to Kebnekajse, they were a mainly instrumental double guitar attack quartet, releasing in 71 their debut album Resa MOt Okan Mal (journey to anywhere) with a greatly naïve artwork.

Contrary to MMM, Kebnekasje's hard rock is a sophisticated one that sometimes oogles in Zappa's direction, and not only because of the often funny vocals that were probably belting humorous lyrics, but the music was indeed complex as well, as the sublime 7-mins+ title track suggest.. Think of a proggier early Wishbone Ash and you'll have an idea of how good these guys could get. But things had tarted out with the almost Skynyrd-esque Tänk På Livet, a track filled with brutal riffs. Right on its racks, Frestelser I Shan has no less heavy duty double guitar riffs that should help Sweden gat a Florida winter if the album is played often enough. The Oriento Express is starting out as a spoof, but it veers in a full musical delire complete with zappa vocals and outstanding interplay and a finish that almost sends Freebird back on the drawing table.

Nothing really shocking but only the lengthy (around 10 minutes) Sommaren track sticks out a bit, more acoustic, but this is hardly a problem since it rocks out just as fine Sounding like a worked up and progged-out surf music Forberedelser Till Fest is an impressive and amusing stab at musical satyr, a bit like a Zappa pastiche. It's too bad the album closes on the weakest track Kommunisera.

While a completely beast than further albums, this is by all means an excellent Swedish hard rock album with the typical Swedish and Zappa-esque humour that one finds in almost all of the early 70's Swede group, be they prog or prog. Completely different and not an ounce prog folk, but no less interesting.

If you're a fan of early 70's Swedish hard rock in the likes of NEON ROSE, NOVEMBER, SOLID GROUND and TRETTIOARIGA KRIGET you will definitely love this album too. Highly recommended!

Kebnekajse would later be famous for turning traditional Swedish folk tunes into Rock music but here, on their first release, they are a Hard Rock act inspired by Cream and Mountain. This is not blues based music however.