HOT SALSA – Hot Salsa (Montezuma, 1979)

English vocals, other languages
International relevance: *

Hot Salsa came together already in 1976 when a group of latinos living in Sweden met in a music pub in Stockholm. Among those were Sabu Martinez's sons Johnny and René, Wilfredo Stephenson of Aston Reymers Rivaler, and Rafael Sida of EGBA. Initially playing locally in small pubs and clubs, a live session for Tonkraft broke them to a nationwide audience (with one selection included on ”Tonkraft 1977-1978”). Their first album followed in 1979, released on the Montezuma label. Helping them out on the album were a few other noted names including oft-hired percussionist Malando Gassama and singer Susanne Nordin (later appearing on albums by Tomas Forssell and Occident).

As their name implies, the group played the Latin American salsa by way New York with some extra pinches of jazz and funk. I'm quite fond of the 70s New York salsa which can be hard swinging with rough edges, sometimes having almost militant overtones in a deep funk way. In short, it's entertainment with a meaning beyond sheer fun. Hot Salsa know the moves, but where New York salsa bears the message in its very sound, Hot Salsa's attempt comes off as too slick and proper. It's very competent, certainly tight, and I don't doubt they really meant it, but even though many of them have the right origins and influences, it still sounds like something out of a music academy. I hear their debut album with my ears, but I can't hear it with my heart and soul which is a must for this kind of music.

It's The Rhythm / Gulliver / Get In The Groove / Fishing In Funky Waters / Simbabele  

VARIOUS ARTISTS – JAZZ- OCH ROCKSTIPENDIATER 1976 (Caprice, 1976)

 

Featured artists: Text & Musik / Krokus / Sonant Space
Instrumental, Swedish vocals, other languages
International relevance: **

These three bands were all awarded a Swedish Concert Institute grant that included a nationwide live tour, sessions for the Tonkraft live radio series; and an LP release split between the bands. The concert institute's own label Caprice Records were responsible for the album release.

Krokus were improvisation jazz, Sonant Space fusion, and Gothenburgers Text & Musik had rock leanings. Of the three grant holders, only Text & Musik went on to a recording career, including two albums for the Nacksving imprint. Krokus however had a trombone player that later became very famous in both the national and international fields of soul, pop, funk and jazz, namely Nils Landgren. Krokus appear with one long track that moves from spiritual jazz to 'organized free jazz' before ending in an almost folkish, lyrical fashion slightly reminiscent of Arbete & Fritid. Their portion is the best on the disc.

Sonant Space (later known as just Sonant) played a complex mix of prog rock and funk, and clearly ambitious, they were a bit too ambitious. Their two tracks are unnecessary complicated, and Sonant Space sounds like a young band (which they were) that really wants to prove something. Obviously technically skilled but like too many bands in that ilk, they go so hard at it the results become messy and unfocused. Some sections are just fine, but with so much nervously going on, their contributions sound more like exercises in high level mathematics than focused music. (A third track from the same Tonkraft session as these selections is available on Youtube.)

The three songs by Text & Musik are very different to each other. ”Ibo-Le-Le” is a Haitian voodoo song, ”Ljusen har slocknat i Shanghai” (co-written by Andreas Aarflot) is like a mini-play featuring spoken bits, fusion jazz and Latin infused cocktail jazz, while ”Det måste gå” features lyrics by poet Göran Sonnevi. They're not very smooth to sing. But while the lyrics are too unweildy for vocals, the track features some nice, fluent guitar work from Thomas Carlsson. All three tracks were recycled for the band's debut album "Jaguaren".

With two otherwise undocumented bands, ”Jazz- och rockstipendiater 1976” is all in all more interesting from an academic perspective than a musical one.

Sonant Space
Nogleckt (from bassist Tommy Riboe's website)
Tapto (from bassist Tommy Riboe's website) 

PER CUSSION – Per Cussion (MNW, 1981)

 

Instrumental, other languages

International relevance: **

Per Cussion's real name is Per Tjernberg who used to be the percussionist in Archimedes Badkar and several other rhythm happy bands. This was his first solo album, and he brought along several friends from Peps Blodsband, Egba and of course Archimedes, such as Bosse Skoglund, Bengt Berger, Babatunde Tony Ellis, Ulf Adåker, and even Peps himself. It's a kindhearted, friendly album bringing together all Tjernberg's influences from Jamaica, Trinidad, Cuba and various African countries. It's pleasant and joyous, a festive get-together of friends easy on the ear, but it doesn't have the oomph to really grab you.

Full album playlist

VARIOUS ARTISTS – Spanien 75: Solidaritet mot fascismen (YTF, 1976)

 
Featured artists: Malin Ek / Jeja Sundström / Eva-Lisa Lennartsson / Narren / Jan Malmsjö / Stefan Demert / Björn Ehrling / 27 Septembergruppen / José Barba / Monica Nielsen / Lasse Johansson / Stog Järrel / Kristina Adolphson, Grynet Molvig & Lis Nilheim
Swedish vocals, other languages, spoken word
International relevance: -

A charity album for Swedish Spanish Volunteers' Companions' Association Solidarity Fund (say that fast ten times) recorded live at an anti-fascist meeting against the Spanish Franco regime in 1975, the same year Franco died. The performers came from various genres. There's visa singers Jeja Sundström & Stefan Demert and Björn Ehrling, singing actors like Jan Malmsjö and Grynet Molvig, and a couple of acts closer to progg such as Monica Nielsen and Narren. Poetry recitals mix with Spanish and Swedish songs, and none of it is interesting to listen to fifty years on. As with basically every album such as this, it's a document frozen in time and it hasn't aged well at all. There's not one single track on this album worth hearing now. Once the proceeds from this album were transfered to the Swedish Spanish Volunteers' Companions' Association Solidarity Fund, ”Spanien 75” died just like artefacts of a purely temprary value die.

José Barba & 27 Septembergruppen - Julián Grimau 

NORRTELJE ELITKAPELL – Oskapliga låtar (Oktober, 1978)

  
Instrumental, Swedish vocals, other languages
International relevance: *

Second album by a largely unsatisfactory folk group with an emphasis on fiddling. ”Oskapliga låtar” sounds like a mix of Norrlåtar and Skäggmanslaget but much more lightweight and less finesse than any of those. The best track in this lot is ”En gång i min ungdom” which sounds a lot like Folk & Rackare's mid-period albums with crumhorns added.
 

”Oskapliga låtar” was originally released by Oktober but reissued in the mid 80s by Sonet. The reissue has a different cover (see above), confusingly enough similar to the one used for the band's first album ”Luffarschottis” from the previous year.

Noteworthy guest appearance: Malanda Gassama on percussion. Per ”Puma” Hedlund is now a fairly wellknown key harpist.

Full album playlist 

ORIENTEXPRESSEN – Orientexpressen (Urspår, 1979)

  
Instrumental, other languages
International relevance: **

Orientexpressen may not be the most imaginative name (meaning, as easily guessed, ”the Orient express”), but it gives as rough although not perfectly accurate idea of what they sound like. Founded in 1975, they've made quite a few albums over the years with members coming and going. For this debut album they consisted of one Turkish born flute and darbouka player and five members Sweden born and bred, of which several also played with Södra Bergens Balalaikor. Add to that two guest singers. They performed traditional music from Romania, Bulgaria, Greece, Turkey, Serbia and the Balkans, a mix that was far from unique in those days. ”Orientexpressen” isn't as good as the less authentic but marvellous Ramlösa Kvällar but much better than the unsatisfactory and polite Radio Balkan. Performances are passionate, and the music has that certain rawness I want from recordings such as this.

The instruments are of course adequate to the music, upright bass, accordeon, fiddle, flutes from near and far, tamboura, clarinet, gajda (bagpipe)... Not to mention the thunderous drum sound of tapan and darbouka. There can never be enough of thunderous darbouka!

All in all, a convincing debut from this long standing band. 

No links found 

MONTEVIDEO – Montevideo (SweDisc, 1980; rec. 1978-1979)

 
Instrumental, other languages
International relevance: **

Emotionless muzak fusion (fuzak?) with Ulf Wakenius (Mwendo Dawa, Sundance, Hawk On Flight) on guitar. Also features drummer Michael Anderson and trumpet player Salomon Helperin from a later Mount Everest line-up. The album was only released in Japan meaning there's only a smaller risk you'll stumble upon it by malicious coincidence. The only remotely decent track is the Spanish sung ”El Travajo”, mainly for its half-interesting percussion work. The rest is provocatively antiseptic. Hadn't it been for Nexus and Life (on Coop), this would probably be the most nothinged-out jazz fusion album to ever be recorded in Sweden. And what an irkingly lousy sleeve!

Light Hour 

BABATUNDE TONY ELLIS – No Place To Run (MNW, 1979)

English vocals, other languages
International relevance: **

Tony Ellis was a member of Peps Blodsband on their ”Spår” album from 1978, and he made his solo album debut the following year. Most of the Blodsband is present here including Peps Persson himself, with the addition of Per Tjernberg (Archimedes Badkar) and Hassan Bah (Kebnekajse). It's an all reggae effort with the occasional African element, pretty much like a lesser Peps Blodsband album with a different singer. Mostly original songs but there's also a good cover of Johnnie Clarke's wonderful ”Roots Natty Roots Natty Congo” (also covered in Swedish by Mikael Ramel) and a version of the dull ”Sitting In The Park” made famous by Georgie Fame. One of the highpoints is the slowed down version of "Punky Reggae", originally on "Spår" but better in this moody take. 

”No Place To Run” has its ups and downs but it's a decent album overall. And it's much better than the pretty terrible 1981 follow-up ”Change Will Come”. Live album ”Red Hot And Live” was released in 1983.

There was also a 12” in 1980 with an 'A' side which isn't any better than the title ”Disco Baby”, but with the great smoky 'B' side ”Ire” not dissimilar to UK band Capital Letters' better moments.

Full album playlist
12": 
Disco Baby   
Ire 

CANTALUCHA – Sånger till Kuba (Mistlur, 1979)

 

Swedish vocals, other languages
International relevance: -

What an incredibly tepid album. The title means ”songs for Cuba” and I suppose the album was made in support of Fidel's country but the performances are so debile it's more like an insult than a tribute. All of it sounds like tourist shop muzak, entirely devoid of any passion Cuban music may have. The vocals are so ninnyish I almost feel sorry for them. Cantalucha sound like a bunch of daycare teachers on soporifics. Needless to say, there's not one real Cuban among them. Had there been, they'd surely have stopped this hogwash from ever happening.

Full album playlist

VARIOUS ARTISTS – Bara brudar (Silence, 1978)

 

Featured artists: Tösabeat / Søsterrock / Husmoderns Bröst / Anita Livstrand / Feminist Improvising Group / Reis Kjerringa / Tintomara
Swedish vocals, other languages, instrumental
International relevance: **

Recorded live at the Women Festival in Stockholm in August 1978 with the profits going to the Women House Fund. Musicians came from Sweden, Denmark and the UK – one of the Brits is Henry Cow's Lindsay Cooper here appearing with the Feminist Improvising Group. It's a wide array of styles, spanning from acoustic folk to free jazz. Anita Livstrand's ”Dervishen”, otiginally on her fantastic album ”Mötet”, is intense and the high point of the LP, but ”Bara brudar” is overall one of the best feminist albums of the era. Also features contributions from Husmoderns Bröst and Tintomara.

Full album playlist

ZÜLFÜ LIVANELI – Complete Swedish albums 1975-1977

Turkish born but of Georgian descent, Zülfü Livaneli is a composer, author, poet and politican who made his album debut in 1973 with a selection of Turkish revolutionary songs. After being held in jail several times during the Turkish military memorandum in 1971, he went into exile in France, Greece, the U.S.A. and for a period in the mid 70s, also Stockholm, Sweden. Here he recorded two albums, plus contributing music for Bay Okan's 1975 movie ”The Bus” largely taking place in Sweden and featuring several Swedish actors.

 

Ballads Of The Thousand Bulls (YE.T, 1975)

Instrumental, other languages

International relevance: **

Recorded in the AV Elektronik studio in Stockholm, this album was also released in Turkey as ”Eşkiya Dünyaya Hükümdar Olmaz” with several artwork variations. Oddly enough, the original title has nothing to do with bulls but means ”bandits cannot rule the world” which is a much better title. Some songs are written by author Yaşar Kemal who later also became a Swedish resident for his political views. Most tracks are Livaneli compositions though, performed on various flutes and lutes and rooted in traditional Turkish music but with an intellectual bent. Livaneli has a rather mellow voice but a commanding delivery, and with the rich ring of the stringed instruments, the music is captivating and won't easily let go of your attention. ”Ballads Of A Thousand Bulls” is an elevated piece of work with a strong emotional vigour.

 

Merhaba (YE.T, 1977)

Other languages

International relevance: **

The second AV Elektronik session is similar to the first but has longer tracks and no instrumentals. The dominating piece is ”Şeyh Bedrettin Destanı”, the 14+ minutes track, almost symphonic in its construction, that takes up most of side 2 and ends the album. ”Ballads Of The Thousand Bulls/Eşkiya Dünyaya Hükümdar Olmaz” is an impressive work, but ”Merhaba” is even better. More stringent, more focused with Livaneli's voice really to the fore which can only be a wonderful thing. This music is humbling and affective on such a deep level. This music is enchanted.
 

Otobüs (Balet, 1977)
Instrumental, Swedish vocals
International relevance: **

The release date of Bay "Tunç" Okan's movie about Turkish immigrants illegaly immigrating to Sweden varies depending on where you look. Some sources say 1974, others 1975. According to IMDb, the Swedish premiere was delayed until 1980. The soundtrack was probably released in 1977 with a reissue following in 1978, both times in Turkey only. Livaneli appears by his two first names Ömer Zülfü only in the songwriter's credits, but he shares the score with one C. Vason. One of two vocal tracks was even co-penned by Rolf Hammarlund of Bättre Lyss and Göran Lagerberg!

The most out of place inclusion is a track by Maria Johansson, better known as Maria på torget (Maria in the square). She was a well-known and annoying character in Stockholm in the 70s and 80s, performing religious songs in the city centre on her electric organ and singing with a cracked and creaky voice to every passer-by not asking for it.

Being a soundtrack, it's not meant as a cohesively constructed album and so it isn't. Livaneli's parts are the best, but some of Vason's easy listening styled contributions detract too much from the experimental nature of the best bits. So very uneven as a whole, but not without merits.

Ballads Of The Thousand Bulls full album playlist
Merhaba full album playlist
Otobüs full album playlist 

EGBA – Live In 75 (no label, 2017; rec. 1975)

 Instrumental, Swedish vocals, other languages
International relevance: ***

A streaming-only release from EGBA's missing year between the first and second album. Professionally recorded at Bullerbyn, a music pub in the middle of Stockholm. with transitional line-up of Ulf Adåker, Ulf Andersson, Ahmadu Jarr, Bjarne Roupé, Harald Svensson, Göran Lagerberg and Åke Eriksson. It's closer in style to ”Live At Montmartre” from 1977, meaning a heavy African influence, but the kick-off track, the otherwise unavailable ”14 ton trotyl” is unusually heavy and the collection's high point. EGBA fans should really treat themselves to this obscure release.

Full album playlist (Spotify)

LEIF STRANDS KAMMARKÖR – Complete albums 1969-1982

What's a chamber choir doing here? you might ask. A relevant question for sure, but this isn't just any chamber choir. This lot is far more progressively minded than a whole lot of your standard proggers and the five albums they recorded from the end of the 60s up to the beginning of the 80s have some of the most explorative music of the era.

Leif Strand founded the choir in 1965 while still a student at the Royal Academy of Music in Stockholm which he attended from 1960 to 1970. He acquainted several prominent performers on the jazz field such as renowned pianist Jan Johansson, bassist Georg Riedel and clarinetist/saxophonist Arne Domnérus as well as future progg illuminaries Jan Schaffer and Björn J:son Lindh. These friendships proved crucial to Strand as his recording career took on by the turn of the decade.

En skiva med Leif Strands kammarkör (Proprius, 1969)
Swedish vocals
International relevance: **

The title may be unassuming (=”an album by Leif Strand's chamber choir”) but the music is anything but. Promininently featured are the previously mentioned Riedel and Domnérus along with pianist Bengt Hallberg, conga player Rupert Clementine and Lennart Åberg on soprano sax. Composition credits are split between Riedel and Strand with ”Blowing In The Wind” being the Dylan song in an expansive arrangement signed Jan Johansson (who tragically passed away in a car accident the year before this was recorded). It's not that the jazz elements are just tucked onto the classically styled choral arrangements – the exchange is dynamic and works as a truly cohesive unit that's indeed forward thinking and open-minded. Trad jazzer Arne Domnérus particularly surprises coming out as a true modernist.

This is deeply musical and extensively creative music cut from the same cloth as Carl-Axel and Monica Dominique of Solar Plexus, and it's rather surprising they're not involved on any of these Leif Strand records. They would have been a perfect match.

En skiva till med Leif Strands kammarkör (Proprius, 1970)
Swedish vocals, other languages
International relevance: *

The second album has an equally mundane title (=”another album by Leif Strand's chamber choir”) but a tweaked line-up. The Riedel/Domnérus/Hallberg troyka is intact but augmented by tenorist and flautist Claes Rosendahl, guitarist Rune Gustafsson, and noted Norweigan born drummer and percussionist Egil Johansen. The instrumental assets are unfortunately not sufficiently utilized with the emphasis being on the vocals. Too much to the fore and much too operatic bordering on sprechgesang, they make ”En skiva till” the weakest Strand album for me.The high point is probably 8 minute opener ”Gospel”, a chaotic piece of modernist dissonance and intimidating drama.

Sorgen och glädjen (Proprius, 1971)
Swedish vocals
International relevance: **

The albums here aren't particularly rare (or sought-after), but this is one of the most common. It probably sold better and is a lot more easy-going than the previous album. With many of the songs being traditional material and folk chorals, it's rich with melancholy textures reminiscent of the always popular work of Jan Johansson. Which is not to say it's smoothed out – some parts are certainly moving in weird territories. ”Världens frälsare, kom här” even touches on Oriental scales. It's also the album up to then that most successfully merges the choir and the jazz section. A good entry point for the novice.

Allt under himmelens fäste (Proprius, 1974)
Swedish vocals, English vocals
International relevance: **

Released three years after ”Sorgen och glädjen” (=”the sorrow and the joy”), ”Allt under himmelsens fäste” (=”everything below the firmament of heaven”) follows along the lines of its predecessor but has a stronger emphasis on jazz, occasionally even veering towards post-bop. The traditional “Bergkirstis polska” (arranged by Jan Johansson) almost goes off the deep end entirely!

Visa singer/troubadour Göran Fristorp is a new addition here; the album was released the same year as Fristorp's own album “En luffare är jag” that featured the choir. I'm not too keen on his voice, it's a bit too precious, and his contributions spoil the flow a bit. Still, this is the where to go if you want more after “Sorgen och glädjen”.

 

Missa Pro Pace: En fredsmässa (Europafilm, 1982)
English vocals, other languages
International relevance: ***

A seven year recording hiatus was interrupted in 1981 by a collaborative live album on the dreaded A Disc label, with the Chamber Choir's first proper album in ages appearing the following year. A lot had changed since “Allt under himmelens fäste”. Stahlwarts Riedel, Hallberg et al were gone, substituted by the likes of J:son Lindh, Schaffer, Stefan Brolund and Jan Bandel. The personnel change obviously updated the sound and style, and “Missa Pro Pace” (“a peace mass”) is the most overtly proggish album in this lot. Some sections almost sounds like a light version of French band Magma! It's also the first album to utilize other effects than the natural reverb of the recording location. It's the first Chamber Choir album that sounds produced. “Credo” for instance has space echo flute whereas Schaffer's reverb-laiden guitar in “Agnus Dei” isn't that far removed from Terje Rypdal. Most surprising feature though is the electric sitar and tablas in “Gloria” – I didn't see that one coming!

Once you've gotten used to this being a very different album from what you've come to expect, it's actually rather good. Thinking of it, this might be the best first choice to a lot of people coming from progg even if it's not quite in line with Leif Strand's 'original' chamber choir. Then again, it's as free-spirited as any of their work, and that is after all the most striking and important trait of this decidedly imaginative and largely captivating choir.

En skiva full album playlist
En skiva till full album playlist 
Sorgen och glädjen full album playlist
Allt under himmelens fäste full album playlist
Missa Pro Pace: En fredsmässa

CONO SUR – Cono Sur (Nacksving, 1979)

Other languages, instrumental

International relevance: *

A Gothenburg trio of two Latin Americans and one Swede performing music from Bolivia, Peru, Argentina, Chile and Venezuela. Everything is obviously very heartfelt and honest with educational liner notes, but apart from the short ”Chaska” with a distinct renaissance flair, the album is as boring as a rainy summer holiday.

No links found

GRUS I DOJJAN – I klackbaren (Metronome, 1978)

Swedish vocals, other languages, instrumental
International relevance: -

Just another Grus I Dojjan album. The only thing that differs their later albums from the earlier is that the later ones are better recorded. Other than that, it's the same cheerful, good-timey folk/bluegrass fare as always. The skewed ”Tokfans polska” is a bit fun though with the deliberate off-key playing that will surely drive some people nuts.

But whar's Jeff Lynne doing in cover shot???

Full album playlist

KANGAS SPELMÄN – Kaustinen (Silence, 1977)

 

Instrumental, other languages

International relevance: *

Folk band known as Kankaan Pelimannit in their native Finland; sort of a Finnish equivalent to Skäggmanslaget or Norrlåtar. A short tune played on Finnish national instrument kantele (seen on the album cover) is rather evocative, as is the vocal track ”På Harjumäen Backe”. The album is included here as it was recorded in Sweden by Anders Lind, head of Silence Records and released on his label. A later Kangas Spelmän LP was released in a rare joint venture between Silence and MNW. They made several albums between 1972 and 1982, but most of them have no Swedish connection.

Full album playlist

THORES TRIO – Thores Trio (Kulturföreningen Källan, 1981)

  
Swedish vocals, other languages, instrumental, a cappella
International relevance: -

Vastly ignorable late era album on obscure label Kulturföreningen Källan which as far as I know only had one 7” in their catalogue outside of this Tomas Forssell produced LP. Thores Trio weren't particularly prolific on record either – they're featured on two various artists EP's on Manifest. Which is not to say they didn't have a long history because they did. As a matter of fact, they're most likely the longest running band ever to be featured on this blog.

Starting out in the tiny Northern town of Båtskärsnäs in 1933 (!) as Thor-Allans Trio, they changed their name to Thores Trio in 1936. Originally specializing in foxtrot, tango and various Swedish dance types, they stayed true to their style until the very end in 1996 when original member and accordeonist and fiddler Tore Allan Nilsson passed away at the age of 82. Singer Nanna Helin and her husband bass player Erik continued playing as a duo afterwards.

They might seem like an unlikely band to be embraced by the progressive movement, but as self-confessed communists, their politically charged lyrics with a strong local connection fell in well with the progg alumni. The Swedish version of Hanns Eisler's ”Einheitsfrontlied” speaks volumes, less so the puzzling inclusion of German schlager "Bei Mir Bist Du Schön". 

This album's probably charming to the immediate family, a limited number of the remaining 200 inhabitants of Båtskärsnäs, or Tomas Forssell completists, but assumably of very little interest to anyone else. 

"Thores Trio" was re-released with a slightly altered cover in 2021.

Full album playlist

AMERINDIOS – Ditt skrik är min sång – Tu grito es mi canto (Amalthea, 1978)

Other languages
International relevance: *

Amerindios was a Chilean duo consisting of Julio Numhauser and Mario Salazar, the former a founding member of Quilapayún who also had a number of Swedish releases. ”Ditt skrik är min sång” was originally released in Chile in 1973 with full title ”Tu Sueño Es Mi Sueño, Tu Grito Es Mi Canto”. It is in the Nueva Cancion style -- protest songs with light dashes of sort-of-but-not-really folk rock. Often backed by acoustic guitar and a singer or two sounding both seriously pissed off (for good reasons) and at the same time curiously happy. 

Original Chilean cover

But there are moments of surprise here, such as the short organ-laced instrumental ”Valparaiso 4 A.M.” with a slightly hazy pseudo-psychedelic vibe, and the stinging fuzz guitar in ”Cueca Beat” like straight out of a primitive garage rock single from Nowhereburg, USA 1966. I didn't see that one coming! And whatever that bizarre instrument in ”La Cervecita” is I don't know, but it sounds like a zither recorded while the producer changed the speed of the tape while recording, making that cosmic zither go WHOOOP and WHEEESH. 

All in all, a pretty good album in its style.

Full album playlist

AMANDLA – Amandla (A-Disc, 1980)

Other languages, English vocals, instrumental, spoken word
International relevance: -

Man, does the A-Disc curse go deep! Not only did they release train loads of emotionally debilitated rock music and pseudo progg, they also managed to sneak out this entirely redundant slab of ANC themed South African music.

Now, I'll readily admit I'm not a fan of South African music in general (I very much prefer the hard-boiled grooves of Northern Africa), but I can nevertheless discern when South African music is passionate. And this just isn't. It's amazing really how A-Disc could turn everything they touched into cosmic dullness.

If I am to say one nice thing about it (although I'm certainly not obliged to), ”Ngwaba Wanga” (=”my child”) is a half-decent slightly jazzy thing that could have been released on a lesser Black Jazz Records disc. But don't take that as an excuse to check this album out. I just said it to look kind. 

Welele Mandela
Ngwana Wanga 

STYRBJÖRN BERGELT – Tagelharpa och videflöjt (MNW, 1979)

Instrumental, Swedish vocals, English vocals, other languages
International relevance: **

Styrbjörn Bergelt was a comparatively under-recorded folk musician that went through several stages before specializing in reviving old and just about forgotten Nordic folk instruments. He started playing jazz trombone before entering the world of classical music as a French horn player. It was during his time at The Royal Academy of Music he gravitated towards traditional music and took up the recorder along with the so called spilå pipe (a traditional variant of the recorder). He rediscovered and reintroduced the willow pipe and the Finnish bowed lyre called tagelharpa (literally: horsehair harp).

His first recording was ”Å än är det glädje å än är det gråt”, a joint venture with Marie Selander and Susanne Broms in 1976. He returned three years later with his first true solo album, ”Tagelharpa och videflöjt” on which he introduced some of his rediscovered instruments to a larger audience.

A few tracks have vocals by Fred Lane, Ingrid Mickelin and Estonian Igor Tönurist, but the album is mainly instrumental. Many of the tunes will sound familiar if you're at all acquainted with Swedish and Scandinavian folk harmonics and melodics, but the tones and timbres are different from what you usually hear. Especially the tunes performed on the bowed lyre sounds quite a lot raspier and grainier than they would on the regular fiddle. Simply put, the archaic resonance makes those tunes and songs sound every bit as ancient as the instrument itself. It also makes the entire album particularly captivating. Bergelt is a fine musician as is, but the sheer ring of especially the bowed lyre draws you in and keeps you fascinated that a standard fiddle album won't necessarily do. So even if you think you've heard enough of Swedish folk music, this might very well be that extra album you need to hear.

Bergelt was also a recognized painter -- the watercolour painting on the cover is his.

Full album playlist (but the running order is jumbled up)