Lennart Åberg - 1977 - Partial Solar Eclipse

Lennart Åberg

1977

Partial Solar Eclipse

01. Partial Solar Eclipse I 8:12

02. Partial Solar Eclipse II 6:04

03. Partial Solar Eclipse III 6:45

04. Partial Solar Eclipse IV 9:44

05. Partial Solar Eclipse V 4:24

06. Partial Solar Eclipse VI 6:52

Bertil Lövgren trumpet, fluegelhorn

Ulf Adåker trumpet, fluegelhorn

Jan Kohlin trumpet, fluegelhorn

Håken Nyquist french horn, trombone, fluegelhorn

Stephen Franckevich trumpet (VI)

Lars Olofsson trombone

Sven Larsson bass trombone, tuba

Jörgen Johansson trombone (VI)

Lennart Åberg soprano saxophone, tenor saxophone, alto saxophone

Ulf Andersson alto saxophone, piccolo, flute

Tommy Koverhult soprano flute, tenor flute

Erik Nilsson baritone saxophone, bass clarinet, flute

Bobo Stenson piano, electric piano

Harald Svensson synthesizer (I, IV)

Jan Tolf electric guitar (I, II, III, VI)

Palle Danielsson bass (I-V)

Stefan Brolund Fender bass (I, II, VI)

Jon Christensen drums

Leroy Lowe drums

Okay Temiz percussion (I, II, III)

Recorded September 5-9, 1977 at Metronome Studios, Stockholm

Swedish saxophonist Lennart Åberg assembles a force to be reckoned with for this out-of-print JAPO release. Fronting a 20-piece ensemble that includes early appearances by pianist Bobo Stenson, bassist Palle Danielsson, and drummer Jon Christensen, Partial Solar Eclipse plays out in a six-part suite of epic proportions. The trumpet-led swell of Part I gives way to a groovy bass line amid big band brilliance infused with Brazilian percussion (courtesy of Okay Temiz). A soaring solo from Åberg flirts with the clouds even as it transcends them in fiery sunset. The twinned bass action from Stefan Brolund and Danielsson impels the spirit toward Stenson’s winding finish. Out of these dense beginnings comes a mosaic of hues and textures. From the flanged ground line and backing horns of Part II, which sound like a warped version of “Baby, You’re a Rich Man,” to the oozing finality of Part VI, the album as a whole bursts with a jazz that squeals, “I made it!” Jan Tolf’s guitar work is the conclusive highlight, along with the florid and soulful tenor work of Åberg himself. Between the two we find the Motown edge of Part III, with its radiant flute and oceanic pianism, and the killer baritone work in Part IV of Erik Nilsson, who also unleashes a fabulous bass clarinet solo over the chalky backdrop of Part V.

This is an album that foregrounds itself by foiling the otherworldliness of all that came before. In so doing, it offers the glare of its namesake without the need for glasses. It’s an intense thrill ride, to be sure, but one that offers choice rewards even (if not especially) for those not tall enough to enter.

Lars Gullin - 1974 - Bluesport

Lars Gullin

1974 

Bluesport

01. Pontus 6:11

02. Mazurka 7:42

03. Bluesport 6:57

04. Omericano 11:36

05. Holy Grail 4:23

06. Motorcykeln 5:24

Alto Saxophone – Lennart Jansson

Baritone Saxophone, Piano – Lars Gullin

Bass – Björn Alke

Congas – Ahmadu Jarr

Drums – Fredrik Norén, Rune Carlsson

Electric Bass – Jan Bergman

Electric Guitar – Amedeo Nicoletti

Flugelhorn, Trumpet – Maffy Falay

Flute – Gunnar Lindqvist

Percussion – Okay Temiz

Piano – Lars Sjösten

Producer – Gunnar Lindqvist

Sopranino Saxophone – Lennart Åberg

Tenor Saxophone – Bernt Rosengren

Trombone – Bertil Strandberg

Recorded at EMI Studios, Stockholm, Sweden, September 8 (A1, A3) and 9 , 1974.

One of the top baritone saxophonists of all time and a giant of European jazz, Lars Gullin would be better known today if he had visited the U.S. often and if excessive drug use had not cut short his career. Early on he learned to play bugle, clarinet, and piano, and was actually a professional altoist until switching to baritone when he was 21. Sounding somewhere between Gerry Mulligan and Serge Chaloff, Gullin played in local big bands in the late '40s and was in Arne Domnerus' sextet (1951-1953), but is best known for his own small-group recordings. He played with such touring Americans as Lee Konitz (a major influence), James Moody, Clifford Brown, Zoot Sims, and Chet Baker, and recorded frequently during 1951-1960, with "Danny's Dream" being his most famous composition. Gullin also recorded a bit during 1964-1965, but made only one later session (1973). Despite a lot of accomplishments in the 1950s, he did not live up to his enormous potential. Gullin can be heard at his best on five Dragon CDs released as The Great Lars Gullin, Vols. 1-5.

Björn J:son Lindh - 1978 - Bike Voyage II

Björn J:son Lindh

1978

Bike Voyage II

01. Introduction (0:33)

02. Helicopter Music (3:19)

03. Billathi Askara (5:14)

04. A Day at the Surface (5:32)

05. Loch Ensslin (2:05)

06. Ah Q (2:11)

07. Bike Voyage II (2:28)

08. Hotel and Drumsticks (5:04)

09. Boathouse Club (4:20)

10. Colwyn Bay (5:32)

11. Angela's Kite (1:14)

- Lennart Aberg / flute, sax (soprano), sax (tenor)

- Jan Bandel / violin

- Stefan Brolund / bass

- Jon Christensen / drums

- Nagi el Habashi / cello

- Malando Gassama / drums

- Björn J:son Lindh / flute, primary artist

- Peter Robinson / keyboards

- Janne Schaffer / guitar

- Peter Sundell / percussion

- Okay Temiz / percussion

- Georg Jojje Wadenius / bass

Recorded at Metronome Studio, Stockholm, June 19th-22nd, 1978.

Vynil LP Sonet SLP-2619 in 1978, later issues released under the name "A Day At The Surface"

After signing with Sonet, J:son Lindh appeared with this album which is marginally better than ”Raggie”, largely thanks to a couple of tracks with a pronounced Oriental feel like the traditional ”Billathi Askara”, enhanced by Egyptian Nagi al-?abaši fervent cello playing, and ”Ah Q” with a guest appearance from Okay Temiz on tablas. But it's ”A Day at the Surface”, ”Hotel and Drumsticks”, ”Colwyn Way”, and ”Boathouse Club” (the latter with an absolutely horrendous synth part) that define the album as just another bloodless fusion album, as stone dead as the granite bust on the cover. Released as ”A Day at the Surface” in the UK.