Drume Negrita

Ry Cooder & Manuel Galbán - Drume Negrita (from Mambo Sinuendo, 2003)

I just got home after a very nice Midsummer weekend out in the middle of nowhere (the cottage pictured above) with an hour's walk to nearest neighbour. Enjoying top notch barbeque, relaxing with the birds and fighting with the midges as well as two days of superb canoeing. This boy's summer vacation got off to great start to say the least!

Here is some laidback Cuban surf music to accompany our lovely summer weather of late. Ry Cooder doesn't need to much introduction I guess (I have even mentioned him on a previous post here), and here he is with a instrumental spin-off project from his sessions with the Buena Vista Social Club. Manuel Galbán were in the 1950's part of the great vocal group Los Zafiros, who I will return to shortly on a second installement of Latino Delights.

Drume Negrita is a classic Afro-Cuban lullabye that has been recorded countless of times. While doing some research I found several nice versions on YouTube, among others the great Omara Portuondo's take from last year. Portuondo was one of the elderly artists that deservingly saw restored stardom after the Buena Vista reunion that Cooder helped to organize in the late 1990's. Check out Breath of life's translation of the lyrics if your Spanish is as rusty as mine.

Summer starts here!

Aliotta Haynes Jeremiah - Lake Shore Drive (1971)


Vacation time! I'm hitting the country side tomorrow for midsummer celebration and leave you with this perfect summer anthem that I've been humming along to a lot lately. A feel good classic from the early 1970's, romaniticizing the art of rolling down the perfect road (and perhaps one or two things more, depending how you interpret the lyrics...). Something to look forward to if you, like me, are aiming at getting (at least closer to) your driving licence this summer!

Ramadan in Space

Salah Ragab & the Cairo Jazz Band - Egypt Strut (from "Egyptian Jazz: Ramadan in Space", Art Yard)


I'm a long time fan of eastern influenced jazz, an interest that probably started with the discovery of flutist and hornplayer Yusef Lateef, that drew inspiration from Islamic traditional music already back in the early 1960's. Drummer and multi-instrumentalist Salah Ragab was head of the Egyptian Military Music Department and produced some seriously banging stuff in the late 1960's and early 1970's that now have been delicately re-issued by UK's Art-Yard label.

The Cairo Jazz Band was Egypt's first big band, mixing American jazz with North African music, combining jazz instrumentation and musical style with indigenous melodies and instruments, like the nay (bamboo flute) and the baza (ramadan drum). Their swinging hit 'Egypt Strut' is apparently loosely based on Herbie Hancock's 'Watermelon Man', with the addition of a nasal snake-charming flute.

Ragab and his band also collaboratad with cosmic music maestro extraordinary, Sun Ra - recordings that have been re-released to some extent. Here is some corny footage from one of Ra's visits at the pyramids:



There have been a lot of activity in the blog-o-sphere surrounding the ever present Sun Ra during the last couple of years and many bloggers have throwned together awesome comp's and mixes of Ra material. As so many times before, Dr Auratheft appears among the leading connoisseurs on the subject and have so far put together no less than eight long radio mixes of assorted Ra crazyness, which makes an excellent starting point for new listeners to Ra. For an amazingly extensive collective Ra discography I recommend you to check out Blaxploitation Jive who offers download links to the many rare gems that now are to be found out in cyberspace.

Syria Calling

Sublime Frequencies is a record label that introduces new musical delights of the world to western ears, in a similar tradition as ethnomusicological and folk preservation imprints such as Smithsonian Folkways, but with certain fondness for the eccentric rather than anything conservatively authentic.

Rural as well as urban sounds, modern as well as archival, mostly from Southeast Asia, North Africa and the Middle East, have dominated their ever expanding catalogue of eclectic releases. One cornerstone in their repertoire is amusing radio collage's acquired while travelling, recording local radio in places like Morocco and India and later remixing the result in clever ways, simple and effective.

Right now the label are touring Europe with a showcase featuring two of their affiliated acts, Western Sahara's electrifying Group Doueh and Syria's Omar Souleyman with his synthetic and cathy woobling groove. I'm going to catch the tour tonight at Sodra Teatern and advise you to do the same!

For an in depth review of a few earlier Sublime Frequencies releases visit Dusted Magazine and for an interview with it's head honcho Alan Bishop check out The Believer.

We call it Jazz

Last month, Sweden lost one of it's most inspirational music critics, Lennart Persson. Actually a more accurate description of the man would be just "devoted music lover" rather than critic, since he always wrote about what he truly loved rather than giving any unearned attention to stuff he didn't personally believed in.

I will remember him for enlighten me of the sheer existence of so many soulful nuggets, and for telling their enchanted stories, exploring the roots to much modern music and showing where tribute are due. During the years he compiled many worthwhile compilations, whereof I have often returned to this selection of 1960's jazz classics from the legendary Impulse record label, made as a neatly packaged freebie for Swedish magazine Pop back in 1996.

Take part of this varied disc of scorchers from Mingus, Roach, Ayler and other heavy weight players as a 70 mb zipfile downloadable from http://sharebee.com/05c5c954 or listen at DivShare above.

As a christmas gift last year, a dear friend of mine gave me one of LP's final publications in book form, Sånger om sex, Gud och ond bråd död - a collection of in depth texts on 59 of his favourite tunes ever. A few of these are wellknown classics, while many others are not. Lennart treats them all with the burning passion and historical expertise that even if the reader would not consider herself a fan of a certain genre you just have to surrender and develop an interest.

Another friend of mine have since then put together a streamable playlist on Spotify including most songs that LP wrote about in this book for our enjoyment:

http://open.spotify.com/user/andylicious/playlist/3TorTqfOc8npoNz%20i1O1hu0

Bible-Black Church Music

“To begin at the beginning: It is spring, moonless night in the small town, starless and bible-black” (from Under Milk Wood by Dylan Thomas)

British jazz pianist Stan Tracey’s vibrant take of Under Milk Wood from 1965 is one slow moving gem that I always found myself returning to, especially (always?) at night time. Dramatic and mysterious, original and spellbinding. I first encountered this track a couple of years ago on Gilles Peterson's highly recommended two compilation set of British jazz from the 60's and 70's, appropriately titled "Impressed", and it was simply a love at first sight. While it perhaps is not the brightest spring music around it have fitted my personal moodiness of late perfect.

The contemporary duo Spring Heel Jack I had until recently only associated with the mid 90’s drum'n'bass scene and from remixes of my high school love, Tortoise. Last year however they came under my radar with something much more interesting than what I remember hearing back then. Their 2008 full-length effort “Songs & Themes” is simply a stunning set of slow moving atmospheric pieces where the duo have laid out "themes", a modal set up of parameters within which their collaborating musicians can move, often creating a beautiful droning motion.

To me, the majestic opener "Church Music", clearly draws inspiration from Tracey’s sensitive old school romantiscm at the same time as being a hazy beauty on it's own strenghts. I find this a solid album all the way through, entirely downtempo but still engagingly varied, without any “modern” arrangements, such as distinctively programmed drum breaks that you might expect from the group considering their background, in sight. Probably my favourite midnight mood music during this past months, and I look forward to seek out more releases from SHJ.

While listening to this later piece I come to think of my man in San Diego, Viktor Sjöberg, who are working with similar techniques of modal structures as SHJ, when he continues his New Jazz Ensemble project on the other side of the pond. Lately he have just offered up this promising snippet of what's to come.

Now I'm going to hop on my bike and roll home through a pouring spring rain. However, things might light up later since I'll try to catch fun-loving Daedelus in concert tonight at Strand. There is always some sun on the other side of the gloomy clouds!

Swedish Delights of 2008

Way to late as usual, but here follows a personal recap of some of my most frequently played new Swedish sounds from the previous year that I've felt an urge to highlight. Presented is an 18 track compilation, where I’ve also taken the liberty to include two personal favourites released back in 2007 as well as two brand new recommendations. This 66mb zipfile of mp3’s are easily downloadable from: http://sharebee.com/e00b83ea

The music herein ranges from groovy kalimba-spiced jazz, westafrican-inspired guitar-duelling and energetic voice and drum breaks to morning-hazy breakfast-loops, easy floating piano interludes and slow experimental jazz drones, all draped in blue and yellow. The lion's share, 16 of 18 tracks, is instrumentals.

Almost all of the original albums are independently released, either by small budget labels or by the artists themselves. Therefore these records might not have the widest distribution but at same time most of them are easily accessible for sale within just a mouse-clicks away. So do the right thing and support these artists in any way you find suitable if you develop an interest in their works.

Each of this compilation's tracks can also be listened to and downloaded individually, but are appearing in a different order in the zip. After that this post grew into rather gargantuan proportions (and almost killed my lust for blogging completely) I'll try to stick to shorter pieces from now on!






Oskar Schönning – Eira (from “Puerto”, Oskar Schönning Records)



Oskar Schönning’s two previous full lengths are very dear to me. Playful and melodically rich jazz with a modern pop sense as well as one foot firmly rooted in traditional Swedish soil. This latest effort is their most varied affair to date; more improvising and experimental in scope, recorded live in front of an audience, at the same time as their sound is immediately recognizable.

Once again, band member Nils Berg’s horn is in a class of his own. He has become something of defining figure on the Swedish jazz scene over the last couple of years and a frequent guest in many settings as well as being awarded the Swedish jazz of the year prize in 2007, with a resulting, warmly recommended, solo album. One of his main groups is The Stoner, who has just released a new album as well, “Hat music”, that I very much look forward to hear. Berg also occasionally guests the intimate bass & vocals based duo Josef & Erika, that I also included a lovely track by on this comp.

Ljudbilden & Piloten - One hundred fifty-five, album preview (Nosordo)

Kristoffer Ström’s one man project Ljudbilden & Piloten has been a faithful companion in my everyday life ever since his lovely debut with the 2004 split CD with Osso Bucco (a.k.a. Gregg Kowalski, nowadays recording for the Kranky label). L&P weaves his tracks of looping rhythms often created by innovative sources of never before musically associated objects, something that demands seeing the man live to be truly grasped.

wedding - ljudbilden & piloten from johan sundell on Vimeo.

His first full length album has set the pace to oh so many cozy days this past year. While his 5-track debut was more consequently softer, I find “One-Hundred Fiftyfive” to be both more varied but also to inherent more of a steady but quirky rhythm as a red thread.

Ström is not only a inventive musician but also a creative designer, with lots of appearances on Swedish national television (for instance repeatedly on Kobra) and each of this album’s tracks have resulted in their own videos, for instance the one above. Ström’s lush horn can also occasionally be heard in Viktor Sjöberg’s New Jazz Ensemble and in the collaborative duo Condou Orchestra together with Johan Gustavsson, a.k.a Tsukimono, featured on a previous Jo/No compilation.

Auton – Sans Soleil (from “Anywhere out of the world”, Structures Sonores)

The trio of Auton’s stunning CD debut is one of my absolute favourite albums of past years. Lush, timeless music with easy flowing, instrumental arrangements often with a sensitive Vibraphonette punctuating the overall mood. A varied, but mostly solemn, and very playable collection of songs from start to finish that deserves a much broader audience.

Central Auton member Douglas Holmquist has been a portal figure in southern Sweden’s progressive independent scene for years, showing up in countless settings as well as solo, but this is the finest thing I have heard him collaborated in yet and holds a strong promise for even more subtle experiences to come.

Tape – Fingers (from “Luminarium”, Häpna)




Tape’s debut recording “Opera” back in 2001 was an important discovery for me since it almost single-handedly opened up a door to a more experimental music scene that I before its arrival had felt awkward about to enter. “Opera” showed me the beauty of non-melodic music that transcended the more ordinary arranged genre music I had before then mostly been preoccupied with.

Paradoxically enough, the trio have since then themselves develop in a direction of more accessible song structures, i.e. more “pop”, for each precedent release. On their fourth album for Häpna, “Luminarium”, they deliver their most easily recognisable, even hum-able, tunes yet, a long way from the nature like moods on their debut. While they on their last album, “Rideau” from 2005, had cooked down their formula to but a handful of longer epic tracks, this new one has the double amount of songs on a shorter total playtime (while I feel that one or two of the new downtempo songs actually could’ve better been left out since they drag the overall mood of the album as a whole down a bit).

2008 also saw their two first albums re-released with new artwork and bonus tracks. The bonus tracks are sneaked into the original playlist to somewhat uneven result, based at least on my opinion of the re-release of their second album, “Milleau”, that I couldn’t resist to reinvest in again now when it came delivered in such an appealing vinyl appearance on two clear yellow 12inches. Personally I’d rather stick to the brilliant original releases and feel that no add-ons is needed, but barely risks the albums playability, as I feel is most often the case when bonuses are tossed in on re-releases. You get the feeling that there were a reason why they were edited away in the first place.






A Gilbert Play - Making mud pies at noon (from "Lay-By", Dreamboat)




One Swedish record label that have joined the ranks of trustworthy providers of interesting sounds and whose new releases therefore nowadays attracts an immediate interest from me, is Dreamboat Recordings. The label owner and household artist Tommy Galento’s string of releases first worked their way into my collection as part of flea market package deals just to slowly be more and more appreciated on their own strengths as the small eccentric wonders they have proved themselves to be. The record that cemented the respect I feel towards this label was probably A Gilbert Play’s second full-length effort, 2005’s “Slope”, still a most reliable partner for a sleepy ride through my imagination. While Gilbert’s new album “Lay-By” has not charmed me the way its predecessor did I believe it has the potential to grow on me. You might say it has a bit more chew in it and dealing with darker themes than “Slope” did, which was more directly accessible and smooth all the way through. Gilbert still plays all instruments himself and do not vary too much from his formula but jogs along at comfort pace.

Shaking King King - Bird Man Show (from the self-titled debut album, Dreamboat)

Shaking King King is a new encounter for me, but apparently the main characters behind this alias has been involved in other projects released on Dreamboat. Varied, jazzy and groovy soundtrack music for movies the listener herself make up in her own mind. At first this seemed a bit novel but proved me wrong since I’ve kept returning to and it always put me in a good mood. Bird Man Ship is the album’s closer and a bit mellower than the rest of the disc. The accompanying picture above is by the way (unfortunately) not the original cover art (I just reckon it should have been!)

OK Star Orchestra - Happy Blue (fr "Cobra Sessions", Dreamboat)




While I mention Dreamboat I can’t resist sharing a track from their brand new release, OK Star Orchestra’s debut, which just might be my favourite new music so far this year. With the simple setting of two guitars and a drum kit the trio seemingly effortless delivers 10 uplifting and varied instrumentals on a cute little record that have recieved plenty of well-deserved rave reviews. Their music has a charming jamming manner that seems to draw inspiration from lots of directions without being a copy of any. Personally I associate the shared track with upbeat and sunny west African music, cleverly incorporating such a nice flow, in a bit similar fashion as Vampire Weekend's catchy hit "Cape Cod Kwassa Kwassa" was inspired.

Wildbirds & Peacedrums - There is no light (fr "The Snake", Caprice/Leaf)



The most memorable live performance that I witnessed during 2008 was probably Wildbirds & Peacedrums cooking up a frenzy on their release party at Debaser. With a setting of mainly a drumkit and a very talented singer they delivered such sheer power that it’s impossible to not get drawn into their grooves. "There is no light" is a fine example of their violent beauty. However I still have not bought their entire album since I have a sense that I wouldn't put it on that often at home. What I do can recommend is to see them live if you sometime have the opportunity (I hear they are touring quite heavily).

Militanta Jazzmusiker - Död mans land (fr "Attack-Jazz", ...)



This Gothenburgian big band orchestra are calling their music Al-Quida-Jazz and there album, which I have not yet heard, is called "Attack Jazz". They surely make up to their titles with a sound somewhere between Antibilas funky afrobeat and some hardcore punk rock. I remember hearing this track for the first time on my favourite radio show Klingan last year and was blown away. I still am and I can’t wait to hear the entire album, or to see them live for that matter.

Ved – Stratoscope (fr "Taygetos", Psychic Malmö)

Ved is the moniker of talented multi-instrumentalist Mattias Nihlén who with his spellbinding and imaginative reconstructions of late 1970’s psychedelic spymovie-themes á la the likes of Goblin, floored me already with his prior 3inch CD-R release “Demis Roussos Internal”. Sadly both this and his full-length is already out of print and begs for a re-issue and I am happy to report that it hopefully will come a vinyl edition of "Taygetos" later this year. I wouldn't be to surprised if Ved would be picked up by some happening label soon. In the meantime Ved has two great new tracks, “Sture External” and "Gerswin's Pipe", up on his MySpace that apparently soon will be released upon a 12inch. I've also featured Ved before on one of my previous compilations, "P as in Pop! J as in Jazz!" (that still attracts new listeners after 213 downloads so far /May 2009).

Luva - Lima (edit) (from "Klorofyll-kassetten", Utmarken)



Malmö has for long been an virile seedbed for experimenting new artists. One who just recently caught my attention is Luva, previously known as VLDGM, releasing his work solely on neatly packaged audio cassettes so far. His concotion of strumming guitar loops reminds me a little of the first record by Capitol K (recording for XL a few years back) or perhaps the Animal Collective, in his nasal singing on some tracks. Even though I tend to quickly get an overdose of these sorts of quirky experiments Luva serves them up in preferably small portions, like this little repetative ode to the capitol of Peru.

Kissey Asplund – Caos (fr “Plethora”, R2 Records)

Another new acquaintance of 2008 was ms Kissey Asplund. Her energetic live performance at Raw Fusion got my hopes high for her debut album. The actual album is lots less energetic with more of a hazy vibe in the spirit of a certain Erykah Baduh. Improvising and spacy i.e., and even though you certainly could have worse idols than Mrs Baduh, "Plethora" unfortunately don’t keep me attention up all the way through. It's still a very promising debut and I really look forward to catching her again, both on stage and on vinyl.

Viktor Sjöberg New Jazz Ensemble – Transition (fr “Do nuthin til you hear from me”, iDEAL Recordings)



An artist that in a way more openly are paying tribute to his inspirational figures just to end up with a more personal reinterpretation, is Viktor Sjöberg. His first release with “full orchestra” (even though you might not notice) dwells into a few chords of Ellington’s track with the same name as the album title, and turning them into a long and calming piece that is not your average standard jazz, nor any slick “Nu-Jazz” á la the likes Jazzanova, but instead a rather somnambulist “slow jazz” with an obvious amount of improvisation involved, sometimes reminiscent of the drone work of people like William Basinski. While I find the album’s opening and central 20 minute epic the most rewarding in it’s hushing, breathing study that don’t rush anywhere but simple rests, it’s too long to be shared here. Instead I’ll just give you a snippet of the album’s closer, which however is not that representative for the album as a whole.

His ensemble on this release features an all star line-up of who’s who in Swedish south/west coast independent music scene, including well-renowned artists such as Douglas Holmquist from Auton, Ljudbilden & Piloten’s Kristoffer Ström and Johan Gustavsson, a.k.a. Tsukimono. After being on the road during much of 2008, touring all over the world accompanying pop wizard Jens Lekman as his DJ and sidekick, Sjöberg has now relocated himself to San Diego. There he is besides working on his new solo album, continuing to operate his own record label and setting up mouthwatering shows also currently looking for new collaborators to record new ensemble pieces, this time tackling Billie Holiday's old jewel "Lover Man". I very much look forward to the further adventures of Mr Sjöberg around the globe.

Orchestra Senza Testa - The red elephant battles the bear (from "Fabula", Kalligrammofon)




This tranquil and mysterious number has been one of my most played tracks this winter. This record however has received so little media coverage that I didn’t discover this nugget until recently. Collaborating with lead honcho Jonas Rosén on this record are several internationally nameworthy musicians, of whom I’m mostly familiar with the great Chicago-based experimental cellist Fred Lonberg-Holm, whose sensitive playing on "The red elephant..." is truly sublime. Echoing his Scandinavian past, recalling a tone similar to Norway's Rune Grammofon-affiliated Nils Ökland (apparently nowadays on ECM) or Eyvind Kang. However, I’m a bit uncertain yet if I feel that the rest of the disc is up in league with this central piece but personally I’ll consider this beauty to be worth the admission price alone.

Kalligrammofon has also just gone about and released two new interesting releases by old fave Tsukimono and new acquaintance Martin Hertrich, that both have received a fair amount of late night listening lately. All three are as neatly packaged as one has come to expect from from this imprint.

Dead Letters Spell Out Dead Words – Crowded rooms in empty streets (fr “Lost in reflections”, co-released by Release The Bats, Fang Bomb, iDEAL and When Skies Are Grey)




I have followed Thomas Ekelund’s musical experiments for quite a few years now and spent countless nights accompanied by his ever growing number of releases. “Lost in reflections” is a mighty fine addition to this body of works, and is continuing Ekelund's development of more melodies to break through the crackling grey duskiness that is DLSODW's trademark. Moments on this new album makes me associate freely about some Popul Voh-ish soundtrack to a Verner Herzog movie veiled in fog.

DLSODW is also featured on the compilation "Gothenburg 08" released last year by Fang Bomb, which also includes assorted works by Anders Dahl, Tsukimono, Viktor Sjöberg, Jasper TX, Skull Defekts and more.

Musette - 24 Maj (from "Datum", Tonaserenad)




Finishing of on the brighter side of life by presenting the opening tune from an debut album just released and that have already provided me with an audio tapestry of several cosy sundays of baking and inviting friends over for scones. Because what better way is there to welcome the birds of spring than by accompanying them by a lovely warm piano interlude of Joel Danell's Musette? Romantic, oldsounding, whistling. Musette also reminds me how much I miss an old favorite artist of mine named Directorsound, who recorded a lovely album of instrumental ditties for Domino's sub-label Geographic a couple of years back but after that sadly seemed to vanish into thin air as far as widely distributed releases goes.