LILLEMOR LIND – Hjortronblom och kärleksört (Proprius, 1978)

 

Swedish vocals, a capella
International relevance: **

Lillemor Lind is a Dalecarlian singer who made her debut on record on the ”Tjejclown” album in 1974. She wrote one of the songs on Lena Ekman's second album in 1980 and also contributed some recordings to a couple of folk albums around the same time. Her full length solo debut came with ”Så draga vi upp till Dalom igen”, with songs from her native Dalarna region, something she passionately researched beside her singing. Lind also had a thorough interest in foreign musics, particularly from Latin America, the Near East and the Balkans as reflected by the two Macedonian songs on ”Hjortronblom and kärleksört”. Both her albums were released through Proprius, known to blog readers from Leif Strands Kammarkör, Lena Granhagen and Elisabet Hermodsson, meaning they have a very particular ambience.

”Hjortronblom och kärleksört” is Lind's most interesting album thanks to the musicians involved. It features Arbete & Fritid key members Roland Keijser and Ove Karlsson, as well as fiddler Anders Rosén who made several albums with Keijser plus took a leading role on ”Sen dansar vi ut”. (A further Arbete & Fritid connection is Rolf Lundqvist who took the group photo on the album cover.) Also present are members from jazz outfit Opposite Corner.

The sound and the arrangements are wonderfully moody and the songs– both traditional and original – are beautiful and melancholy with a prominent archaic character. The main problem is Lillemor Lind herself. Her vocal style has a kind of preciosity to it, as if she was classically trained and had lost some touch with the vernacularity of the songs. It's not a constantly up front problem, but you can always sense it under the surface and now and then it comes through. That spoils it somewhat for me and I can't help but imagining what this would have been like had Marie Selander or Lena Ekman been in Lind's place. As it stands now, it's an intrinsically great album that never reaches its full potential.

Full album playlist

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

ELISABET HERMODSSON – Vad gör vi med sommaren, kamrater? (Proprius, 1973) / Disa Nilssons visor (Caprice, 1975) / Vakna med en sommarsjäl (Caprice, 1979)

Gothenburg born multitalent Elisabet Hermodsson was a rare ange bird on the scene. An author, journalist, painter, songwriter, singer, with an education in rhythmics, she was involved in the 70's feminist movement but the three albums she made during the decade was of a more reflective personal kind without exhausting in-your-face politics. She appeared in the stage performance ”Röster i ett mänskligt landskap” along with Lena Granhagen, released on album by Proprius in 1971.

Vad gör vi med sommaren, kamrater? (Proprius, 1973)

Swedish vocals, instrumental

International relevance: **

Hermodsson's first solo album showcases her style at its best, with an abundance of hushed songs, with delicate arrangements underlining the inherent melancholy. Recorded with Arne Domnérus, Georg Riedel and Rune Gustafsson to mention but three of the musicians, ”Vad gör vi med sommaren, kamrater?” has mild jazz strokes without ever becoming a jazz album. It's hard to pinpoint Hermodsson's style; she's too original to easily fit in with any defined genre. There's a particular kind of Swedish music called 'visa' (plural: 'visor'), somewhere between singer/songwriter and French chansons, and that would be the most appropriate classification for Elisabeth Hermodsson. Whichever way, ”Vad gör vi med sommaren, kamrater?” is a dimly lit and ultimately touching album.

Disa Nilsons visor (Caprice, 1975)

Swedish vocals

International relevance: *

Swapping the small back-up unit on her debut with a larger ensemble of new musicians diminished the emotional impact of Hermodsson's songs. The songs are still poetic and the arrangements are carefully crafted but lack the element of surprise that helped making ”Vad gör vi med sommaren, kamrater?” a captivating album.

 

Vakna med en sommarsjäl (Caprice, 1979)

Swedish vocals

International relevance: *

Despite being subtitled ”Disa Nilsons visor II”, ”Vakna med en sommarsjäl” is different to the first volume of the two centered around the fictious Disa Nilson character. The album again utilizes a new set of musicians, this time including the likes of Jan Schaffer, Björn J:son Lindh, Stefan Brolund and wind player Sven Berger. Also featured is classical string quartet Freskkvartetten. The mood is closer to ”Vad gör vi med sommaren, kamrater?”, often sombre and dusky, although not on par with the special intimacy of her debut. 

Both ”Disa Nilson” volumes were combined to one CD, unfortunately with the tracks from the two albums jumbled up to a new track sequence.

Elisabet Hermodsson spent most of her time living in Uppsala and her summer house on Fårö (a place familiar to director Ingmar Bergman fans). She died in 2017 at the age of 89.

Vad gör vi med sommaren, kamrater full album playlist

Disa Nilsons visor

Promenad till Hångers källa 

Jag vill va' diagonal 

Apollos visa 

Samtal på heden 

Vara ingenting 

Människans frigörelse 

Vackre Apollo 

Sång i dryckesnatt 

Sommargästens visa 

Dikt vid havet 

Vakna med en sommarsjäl

Natt på heden 

Signelse-visa 

Nakendans i Valleviken 

Bara för sommarens skull 

Vandring i ett gotländskt änge 

Om försjunkenhet i naturen

Vakna först i sommartid

Naturens sorg 

HAWKEY FRANZÉN – Complete albums 1969-1981

Hawkey Franzén was a member of Lea Riders Group who made a couple of 45's in the 60's, including the rousing ”Dom kallar oss mods” which became an international garage psych classic when included on the third volume of the groundbreaking compilation series ”Pebbles”. He performed in the Swedish version of ”Hair” at Scalateatern in Stockholm in 1968, and joined Jason's Fleece for their one-off album in 1970. He released several singles with various line-ups and appeared on albums by Björn J:son Lindh, Lena Granhagen and Fred Åkerström; translated lyrics and wrote songs for Monica Törnell, Tommy Körberg, Anita Lindblom, Sylvia Vrethammar... The list of domestic stars he's worked with is virtually endless. His solo album discography is far more comprehensible. Between 1969 and 1981 he released a mere four regular LP's, plus two children's albums.

Visa från Djupvik (Mercury, 1969)

Swedish vocals

International relevance: ***

Hawkey Franzén spent a month in jail for draft dodging and there he met Björn J:son Lindh who was behind bars for the same reason. Together they began working on songs dealing with life in prison. The collaboration spawned Franzén's first solo album ”Visa från Djupvik”, with Djupvik being the name of correctional institution where they were interned. Tracks such as ”Tillbaka från skogen” and ”Vakuum” bear a slight Pugh Rogefeldt resemblance, and there's a disctint jazz influence on ”Somnar” and ”En dag”, but the best tracks are ”Tack ska ni ha!”, ”Fångvård” and the brass laced ”Tyst”. Fans of Lea Riders Group might find ”Visa från Djupvik” disappointing but it's a very fine album in its own right.

Visa från gungor och sand (MNW, 1971)

Swedish vocals, instrumental

International relevance: ***

”Visa från gungor och sand” – subtitled ”Visa från världens största park” – is a children's album of sorts, a bit like Jojje Wadenius' ”Goda' goda'”, but it's as much an album about children as it's for children. ”Varför då” is a good song, ”Gungor och sand” shows a minor David Crosby influence, and the instrumental jam based ”Två pappor” that ends the album is OK too, but the children singing back up vocals on several of the tracks are a bit distracting. And the lyrics just don't have the urgency of those on ”Visa från Djupvik”.

Visa från och till (Mercury, 1971)

Swedish vocals, instrumental

International relevance: ***

A move back to major label Mercury after the short stint with MNW for ”Visa från gungor och sand”. ”Visa från och till” has a somewhat more detailed production including moog and strings, but it falls a bit short songwise. Franzén occasionally comes off like a Cornelis Vreeswijk (very famous Dutch born Swedish singer/songwriter) wannabe on a couple of tracks and a sleepy eyed Mikael Ramel on others. But it has a couple of interesting moments. ”Jag ger mig” has a driving groove; the short Bela Bartók composition ”Ungersk polsterdans” wouldn't have been out of place on a Samla Mammas Manna album, and the two versions of ”Sorgmarsch” are odd and intriguing exercises in unusual rhythms. The best track of them all is however ”Sorgekranser” that further explores 'chopped off' time signatures. To sum it up: ”Visa från och till” is uneven but with worthwhile highlights.

Visa av och med (Viking, 1972)

Swedish vocals

International relevance: **

Hawkey Franzén's last proper album for 33 years, and a good one at that. It's largely a contemporary band singer/songwriter album (very atypical to the Viking label) but the performances are solid and Franzén sounds more inspired on this album than he did on ”Visa från och till”. The most progressive track ”Visst kan man bli fast” is splendid with Björn J:son Lindh in excellent (semi-free jazz) flute shape.

”Visa från Djupvik” often gets most of the praise but it might actually be that ”Visa av och med” is my personal favourite Hawkey Franzén album.
 

Skivan om Bubblan som fick nya föräldrar (Proprius, 1973)

Swedish vocals, spoken word

International relevance: *

This children's album isn't really a Hawkey Franzén album but it features him as the story's main character Bubblan's two daddies. The musical parts are performed by Jan Bandel, Jan Schaffer and Stefan Brolund (Hörselmat, Pop Workshop) with jazz musicians Bengt Hallberg, Egil Johansen, Staffan Sjöholm and Rune Gustafsson completing the line-up. The music was written by Leif Strand and is mellow but quirky – sometimes even spaced out. Hardly an everyday spin but peculiarly appealing even during the spoken bits (although they admittedly won't do much to non-Swedes). The plot's written by actor, author and translator Catherine Berg.

Smulvisor & bitlåtar (Sonet, 1981)

with Ulla Wiklund

Swedish vocals

International relevance: *

An album made with Ulla Wiklund who voice acted Bubblan on the previous album. Franzén produced the album, sang on half of the tracks, and provided guitars and sound effects. Other performers include Jan Bandel, Greg FitzPatrick, Ale Möller and Göran Lagerberg. The Oriental sounding ”Gamla trappan” features tablas, bouzouki and flute and is the only interesting track on an uninteresting album.

Visa från Djupvik full album playlist
Visa från gungor och sand full album playlist
Visa från och till full album playlist
Sagan om bubblan som fick nya föräldrar full album
Smulvisor & bitlåtar full album playlist

LENA GRANHAGEN – Sjunger Theodorakis & Biermann (Proprius, 1972)

Swedish vocals

International relevance: **

Lena Granhagen was already an wellknown actress when her second solo album, with songs by Greek national icon Mikis Theodorakis one side and German singer/author Wolf Biermann on the other. Granhagen had been in lots of movies since the 50's including several by noir crime director Arne Mattson, and in Henning Carlsens infamous 1965 women-in-jail depiction ”Kattorna” (as a side note, with music by Polish jazz giant Krzysztof Komeda), to mention but a few. She also had several parts in theatrical plays, and her first appearance on record was in fact a recording of Scalateatern's ”Irma la Douce” released in 1963.

The lyrics to ”Lena Granhagen sjunger Theodorakis & Biermann” were translated by authors Caj Lundgren and Theodor Kallifatides, as well as highly acclaimed singer/songwriter Cornelis Vreeswijk. The album showcases several instrumentalists from the burgeoning progg scene. The toned down arrangements for the Theodorakis songs were made by Björn J:son Lindh and make use of harpsichord, tablas and sitars and, of course, flute. Side two is dedicated to Biermann's songs and is a wee bit louder but the tone is nevertheless similar due to Granhagen's predictably theatrical vocals. It's obviously a political album and sounds like one. Not recommended.

Full album playlist