COMMUNICATION – Communication (Grammofonverket, 1974)

 Instrumental, English vocals, wordless vocals
International relevance: *

Featured in the also-rans list in Tobias Peterson's Swedish progg encyclopedia, but really too un-progg to conveniently fit here. Bassist Red Mitchell is at the helm of this constellation, and he rarely went for very adventurous sounds. Communication briefly touches on soul jazz in ”Cirrus” and give a nod to Coltrane in ”Pamukkale”, but apart from that, this is mainly standard jazz. Well executed but not very interesting.

The album was reissued on CD in 2015 as a Red Mitchell album with a new cover art.

Full album playlist (Spotify)

TED STRÖM – The complete 1970's albums

Following Contact's demise in late summer 1972, Ted Ström swiftly embarked on a solo career. Some of his songwriter characteristics prevailed. You can trace Contact's well known folk influence also on his solo albums, especially in the instrumentation of mandolin, clarinet, accordion etc.

Knut Teodor Ström (Grammofonverket, 1973)

Swedish vocals

International relevance: **

”Knut Teodor Ström” is not only the title of Ström's first solo album, but also his full birth name. The album was written shortly after Contact broke up. with some fine musicians of which Göran Lagerberg, and Fläsket Brinner's Erik Dahlbäck deserve a special mention, as does Björn Holmsten adding a special nuance to the music with his sax, clarinet and accordion. The album sounds what Contact could have sounded like within a somewhat rockier framework. Fine songwriting, with ”Anders Jansson, nyckelbarn” (written with a little help from Ström's friends), ”Frost” and the jazz tinged ”Tidig morgon” highlighting the set.

Kärva lägen (Manifest, 1977)

Swedish vocals

International relevance: **

With the formation of Norrbottens Järn following ”Knut Teodor Ström”, it took Ström four years to complete his second solo album, using Luleå band Rekyl as a back-up band, and augmented by Nynningen's Tomas Forsell on guitar and mandolin, and Christer Ödberg on horns. Writes Ström about the album on his website (my translation): ”The album is largely influenced by the time and place; an interest in social issues and the environment of Luleå in those days. Ray Davies and Randy Newman were my idols which is obvious on the tracks 'Alkohol' and 'Idolen' which are translations of songs of theirs.”

However, the album opens with Ted Ström's own version of ”Låt i framstegstakt”, originally written for Norrbottens Järn (released on their 1977 album ”Järnet”). The reggae beat here unfortunately doesn't do the song much good, and to be honest, ”Kärva lägen” is generally not Ström's finest hour. It has some good songs for sure but the album sounds dry and surprisingly uninspired. Is it because of Rekyl, or is it because it was mixed by Nacksving producer Johannes Leyman? 

För evigt ung (Sonet, 1979)

Swedish vocals, instrumental

International relevance: **

Involving Kornet might not look like a good idea on paper – they're probably the most boring of all Swedish fusion bands of the 70's – but they adapt well to the circumstances and don't let loose too many of the instrumental acrobatics that make their own albums so unlistenable. Lasse Englund also appears with his typical acoustic sound, but he too is sympathetic to Ström's songs. Not all of them are good – the title track is just dreadful, and the reggae influence spilling over from ”Kärva lägen” is still awkward. But some songs are fine, better than ”Kärva lägen” including the Dire Straits influenced (yes, Dire Straits, you may stop choking now!) ”Vinterresa” bearing Ström's melancholy stamp.

Ted Ström has continued making records to and fro over the years. Monica Törnell's version of Ström's ”Vintersaga” became a huge hit in 1984. One of the best songs Ström has written, so good you can hear the qualities even through the layers and layers and layers of production polishes smeared all over Törnell's recording.

Knut Teodor Ström full album playlist

Kärva lägen full album playlist

För evigt ung full album playlist

SABU MARTINEZ – Afro Temple (Grammofonverket, 1973)

Instrumental, spoken word

International relevance: ***

New York born percussionist Louis 'Sabu' Martinez was something of a wunderkind, making his professional debut in 1941 at the age of 11. At 18 he was offered a place in Dizzy Gillespie's orchestra, and he later went on to work with jazz giants like Charlie Parker, Duke Ellington, Thelonious Monk, Art Blakey, and Charles Mingus. His band leader debut came in 1957 with ”Palo Congo” on the Blue Note label. Ten years later he moved to Sweden and released a couple of albums under his own name of which ”Afro Temple” is the best known.

The album was recorded in April 1973 with a number of renowned instrumentalists, among them Christer Boustedt and Bernt Rosengren on saxes and flutes, U.S. born Swedish bassist Red Mitchell, and drummer Ali Lundbohm (of Vildkaktus). Needless to say, it's a percussion heavy album with strong Afro-Cuban influences, not only featuring Martinez himself but also four other conga players. The title track is fine with Boustedt wailing away on his alto and the reverb drenched ”Para Ti, Tito Rodriguez” and funky ”My Christina” are pretty cool too, but I think the album as a whole is overrated.

The folks at Mellotronen wouldn't agree with me as they've released a series of previously unreleased Martinez recordings made for the Swedish Radio 1967-78, ”Winds & Skins” (with saxophonist/flautist Sahib Shihab), ”Burned Sugar” and ”Maldito Primivo”.

Martinez died in Sweden from gastric ulcer in 1979, only 48 years old.

Full album playlist

POP WORKSHOP – Vol. 1 (Grammofonverket, 1973) / Songs of the Pterodactyl (Grammofonverket, 1974) / WLODEK GULGOWSKI – Soundcheck (Polydor, 1976)

A super group of sorts including Jan Schaffer, Wlodek Gulgowski, Ola Brunkert, Stefan Brolund, and on ”Songs of the Pterodactyl” drummer Tony Williams of Miles Davis and Lifetime fame. Just by reading those names you should get a clear idea of what the music's like, funky fusion permeated by technical talent. Which it is. 

POP WORKSHOP  – Vol. 1 (Grammofonverket, 1973)

Instrumental 

International relevance: ***

”Vol. 1” is a heavier and proggier album than expected though with some riveting guitar work from Schaffer. The powerful ”Perforated Mind” should appeal to Zappa heads while Magma fans ought to be delighted by ”Equinox”, but ”Vol. 1” is a solid affair way too good to be held hostage by the fusion crowd!

POP WORKSOP – Songs of the Pterodactyl (Grammofonverket, 1974)

Instrumental

International relevance: ***

”Songs of the Pterodactyl” is good too, almost great but lacks some of the debut's freshness, as if they tried to consciously repeat the quirky angularity of their first album. Everything is in the right place with thorough compositions by Gulgowski and his Polish countryman Zbigniew Namysłowski, but it doesn't thrill quite as much as ”Vol. 1”. Still a fine effort though, with fantastic cover art by Swedish horror painter Hans Arnold.

 WLODEK GULGOWSKI – Soundcheck (Polydor, 1976)

International relevance: ***

Instrumental

Wlodek Gulgowski had two albums of his own out in the 70's, although the first one he made was co-credited to Rory Vincent, ”Dream World”, so ”Soundcheck” is technically his first to count as a solo album. Unfortunately it's a very disappointing album coming after the two he did with Pop Workshop. It's full of slick fusion, very polished and not dissimilar to some of the weaker funky library albums that have gained collectors' interest in recent year.

Both Pop Workshop albums cry out for a reissue but ”Soundcheck” is definitely one to pass on.

Vol 1 full album playlist
Songs of the Pterodactyl full album playlist
Soundcheck full album

EGBA – The 1970's albums

Sweden's leading fusion band of the 70's, founded in 1971 and active through the 80's, with one stray album released in 2004. Their name stands for Electronic Groove & Beat Academy but they're exclusively refered to by the acronym EGBA. The band was centered around trumpeter Ulf Adåker and had a changing line-up over the years, at one point or another including guitarist Jan Tolf, Göran Lagerberg, Amadu Jarr, pianist Harald Svensson (Resa, Häxmjölk), drummer Åke Eriksson (Wasa Express) and Per Tjernberg (Archimedes Badkar). A reformed EGBA is still performing.

EGBA (Grammofonverket, 1974)
Instrumental, other languages 

International relevance: ***

 

Their first album presented all of the band's characteristics, jazz fusion inspired by the likes of Miles Davis and Chick Corea, with funky grooves providing the foundation on the heavier tracks, with a distinct African influence to boot, most notably on”Gbinti”. ”Capsiloni”, written by drummer Claes Wang, veers towards Archimedes Badkar. ”Egba” is one of the finer examples of Swedish fusion thanks to its diversity and inspired playing. Great cover too.

Jungle-Jam (Sonet, 1976)

Instrumental, other languages

International relevance: ***

Egba's second album adds a bit of Latin music to the mix, and takes the funk one step further. The album unfortunately lacks a lot of the charm that makes their debut enjoyable. This is pretty much a standard funk fusion album with the urge to explore and discover largely substituted with technical precision.

Live at Montmartre (Sonet, 1977)

Instrumental, other languages

International relevance: ***

Better than ”Jungle-Jam”, probably because it was recorded live, with Egba feeding off the audience at the Montmartre jazz club in Copenhagen. Here they expanded their palette of styles to include reggae on ”Satobe”. Still not on par with their debut however.

Amigos Latinos (Sonet, 1978)
Instrumental, other languages 

International relevance: ***

 

Just like the title suggests this is an album with a stronger emphasis on Latin influences. It's also an excruciatingly dull album, with fusion meaning a mathematically precise show-off. I find it extremely hard to sit through without a steadily increasing level of irritation.

Bryter upp! (MNW, 1979)

Instrumental
International relevance: ***

A literal translation of the album title would be ”breaking up”, and while not exactly true, it saw Egba change to a smaller line-up and also a new label. The title also suggests the band was taking off in a new direction which is partly true as ”Bryter upp!” is less hysterical than ”Amigos Latinos”, a little more reflective. It still fails to satisfy unless you have a high tolerance for their kind of music.

”Progglådan” features two Egba tracks recorded for the Swedish Radio in 1972, and three more from a 1978 session.

I can see why they're highly regarded by fusion fans for their passion and skills making them much better than many of their peers, even if they're not to my liking.

Egba full album playlist
Jungle Jam full album playlist
Live at Montmartre full album playlist
Amigos Latinos full album playlist

IBIS – Ibis (Grammofonverket, 1974) / Sabbas Abbas mandlar (Dragon, 1980)

Instrumental

International relevance: ***/**

Ibis evolved out of the excellent Vildkaktus but has very little in common with pianist Gösta Nilsson's and guitarist Olle Nilsson's former band. The music on their debut is jazz fusion, albeit with a much dirtier edge than the genre usually allows. Sometimes during the noisier parts they remind me a wee bit of French band Magma but possibly only because the tenstion they create from time to time.But ”Ibis” do indeed has quite a few more progressive moves than their far more academic Swedish fusion genre fellows. While I prefer the splendour of Vildkaktus, ”Ibis” is an interesting piece worthy of several plays.

Their second album with an untranslatable pun on Samla Mammas Manna for title didn't appear until six years later, and features a vastly different line-up with only Gösta Nilsson left from ”Ibis”. The personnel change obviously prompted a change in style, and ”Sabba Abbas mandlar” is a straight post bop jazz record with only a few contemporary fusion tinges on ”Summer Eyes” penned by new member and jazz legend Bengt Ernryd. An OK album but keep in mind it collects few progg points.

Ibis full album

Sabba Abbas mandlar full album