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

FINN ZETTERHOLM & MARIE SELANDER – Lillfar och Lillmor (SR, 1970)

  
Swedish vocals
International relevance: **

I wouldn't say that Finn Zetterholm's and Marie Selander's voices and vocal styles are a perfect match, but it's no wonder Zetterholm chose Selander as a singing partner on this album. It's a collection of old short folk songs, some almost like children's rhymes, and with no better female folk singer in Sweden than Marie Selander, few could do this better than her. It's also Zetterholm's best 70s album, much thanks to Bengt-Arne Wallin's interesting arrangements quoting both jazz and renaissance music. No wonder, as jazz players such as Palle Danielsson, Egil Johansen and Rune Gustafsson appears, plus the nation's prime advocate for renaissance music. multi-instrumentalist Sven Berger on instruments like dulcian, hurdy gurdy and bassoon, and Eric-Gustaf Brilioth adding the colourful timbre of crumhorn. It's not one of my regular spins, but Folk & Rackare fans may be interested in hearing ”Lillfar och Lillmor” at least once.

Full album playlist

MONICA NIELSEN & TOMMY KÖRBERG – ...med hjärtat fyllt av trots: Arbetarrörelsens kampsånger (A Disc, 1977)

Swedish vocals
International relevance: *

Monica Nielsen was mainly a busy movie and television actor but as a singer, she was the perpetual co-artist. She only ever released one album of her own and that was back in 1966, with her other vocal participations including merely the odd single, appearances on various artists and duo albums with high profile performers. ”Med hjärtat fyllt av trots” is one of those, focused on Labours movement songs and recorded with Tommy Körberg. Now an internationally widely celebrated singer, but back in the day best known domestically for his early pop albums, Solar Plexus, and the reformed Made In Sweden.

Körberg isn't the only renowned musician here. On the contrary, the credits are littered with names like Janne Schaffer, Ulf Adåker, Egil Johansen, Björn J:son Lindh, Pekka Pohjola and Rune Gustafsson, and the arrangements were written by much beloved bassist, composer and former Jan Johansson cohort Georg Riedel. While this all points to a thoroughly executed project, we have to remember that the album was released by A Disc, the Social Democrats' imprint known to dampen any kind of artistic enthusiasm. Thus the album title meaning ”with a heart full of defiance” seems like impossible wishful thinking, and it is. It's all very well played, well sung and well arranged – in short, technically and musically impeccable – but if you're looking for any inspiration to defiantly fight the powers that be, this is not the place to go. Unless authorities can be fought with sleep, but I for one have never heard of any revolutionary naps. It ought to be wellknown to all by now that I don't ask for any fistwaving loudmouths, but a little more oomph hadn't hurt...

Motsträvigt och med hjärtat fyllt av trots / Arbetsmannen / Oss alla unga / Kom med oss kamrat / Vårt vapen heter solidaritet / Ingen rubbar oss / Arbetets söner / Signalen / Ett enat folk / Det unga gardet / Solidaritetssång / Internationalen

A VARIOUS ARTISTS SPECIAL – 3 jazz compilations

Featured artists: Kustbandet / Arbete Och Fritid

Club Jazz 6 (SR, 1972)

Instrumental

International relevance: ***

”Club Jazz” was a series of nine volumes of radio recordings released on Swedish Radio's own imprint SR Records from 1970 to 1974, a jazz equivalent of sorts to the early 80's ”Tonkraft – Levande musik från Sverige” series. The featured artists were either given a full album or one LP side each, and the series captures performers such as Eje Thelin, Stefan Abeleen with Lasse Färnlöf, Opposite Corner and vocalist Nannie Porres. The most interesting volume from a progg perspective is also the one with the most bizarre coupling. The sixth installment has one side of Kustbandet's uninteresting trad jazz and the second one dedicated to Arbete & Fritid. The Arbete & Fritid part is Ove Karlsson's fantastic 20 minute track ”Ostpusten-Västpusten” in its entirety, recorded at Uppsala Stadsteater in April 1972. It's Arbete & Fritid at their gorgeous best, and thankfully the track was resurrected as a bonus track on the CD reissue of their third album making it easier to obtain (and easier to avoid Kustbandet).

Jazz från det svenska 70-talet (Caprice, 1974)
Featured artists: Kustbandet / Jazz Doctors / Rolf Larsson & Jack Lidström Dixieband / Ove Linds Kvartett / Björn Milder / Umeå Big Band with Benny Bailey / Peps Blues Band / Gugge Hedrenius Big Blues Band / Lars Gullins Kvintett / Nisse Sandströms Kvartett / Lasse Werner och hans vänner / Nannie Porres Kvintett / Stefan Abeleens Kvintett / Arbe Domnérus Kvintett med Rune Gustafsson / Arbete & Fritid / Bernt Rosengrens Kvartett / Rena Rama / Egba

International relevance: **

Instrumental, English vocals

The title means ”Jazz from the Swedish 70's” and features a wide stylistic range, from the blues of Peps Persson to the fusion of Egba, from the dixieland stomp of Kustbandet to the post bop of Bernt Rosengrens Kvartett. So it serves its purpose of being a non-discriminating catalogue of contemporary jazz but it's also an incredibly frustrating spin if you listen to it all way through. But with such an array of styles, there are of course worthwhile moments. Fans of vocal jazz should be delighted by Nannie Porres's take on ”Willow Weep for Me” – after all, she's the second finest Swedish jazz vocalist after Monica Zetterlund. The contribution from the aforementioned quartet led by Bernt Rosengren is good and lively. Rena Rama makes one of their best vinyl appearances with ”Daisy Lee McGhee” – probably the best selection on the album, and better than Arbete & Fritid's bluesy but unsatisfying ”En solig dag på landet/The Big Bad Bag of Baba-Louie”.

Det nyJAZZte från Göteborg (Caprice, 1977)
Featured artists: Mount Everest / Opposite Corner / Mwendo Dawa / Soffgruppen

Instrumental

International relevance: **

Another Caprice Records release, this time showcasing the talents of the mid 70's Gothenburg jazz and improvisation scene. Mount Everest (as a trio) has a great Coltrane fuelled medley of ”Black Snow” and ”Sherpa Dance”, Mwendo Dawa is a little too close to fusion for my comfort, Opposite Corner is good, while Soffgruppen isn't quite as great as on their album.

Arbete & Fritid - Ostpusten-västpusten
Jazz från det svenska 70-talet full album playlist
Mwendo Dawa - Microsvit

Opposite Corner - Love Song

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