Personnel:
Nils Lindberg (p, arr), Maffy Falay (tp), Ake Persson (tb), Rolf Billberg (as), Harry Bäcklund, Allan Lundström (ts), Lars Gullin, Tosten Wennberg (bs), Sture Nordin (b), Conny Svensson (d)
Reference: FSRCD1148
Bar code: 8427328611480
Nils Lindberg (1933-2022), a pioneering Swedish jazz composer and pianist, left an enduring mark on various musical genres. In 1960, he recorded the present album consisting of seven tracks, four of which stand as a testament to his unique fusion of jazz, Swedish folk music, and classical influences.
Crucial to the project's success were the first-rate musicians Lindberg enlisted: Rolf Billberg (alto sax), Harry Bäcklund (tenor sax), Allan Lundström (tenor sax), Lars Gullin (baritone sax), Sture Nordin (bass), and Conny Svensson (drums). Collectively recognized as The Swedish Modern Jazz Group, they were expertly arranged and conducted by Lindberg, contributing to the overall excellence of the album.
Lindberg drew inspiration from Swedish folklore in compositions such as 'Curbits,' 'Play for Love,' and 'Zodiac.' Particularly noteworthy, 'Brand New' stood out for its exclusively Swedish style and original construction, presented as a suite with interconnected parts.
The remaining tunes, 'Blues for Bill' and 'Birdland,' brought additional jazz diversity to the album. 'Just a Take,' featuring improvisation by Lars Gullin and Rolf Billberg, emerged as a standout and it turned out to be one of the highlights of this album.
Titled 'Sax Appeal,' the album, originally released on the Swedish Barben Records label, not only captured Lindberg's innovative approach but also showcased the exceptional musicality of all the musicians involved in this project.
—Jordi Pujol
"Yes, those frigid Swedes were able to swing in the early 1960s, as this album of music conducted by pianist Nils Lindberg and featuring the Gerry Mulligan-inspired baritone sax of Lars Gullin will testify. The first seven songs have the two teamed up with Conny Svensson/dr, Sture Nordin/b, llan Lundstrom/ts, Rolf Billberg/as and Harry Backlund/ts. The horns are upbeat on “Birdland” with some nice CA Cool tones from Billberg and Gullin” while the horns are elegiac on “Blues For Bill” with Backlund’s warm tenor giving memories of Getz”. Gullin’s baritone glows, with the two tenors volley back and forth on the swinging “Brand New”. Lindberg’s TV Orkester makes a few changes as Gullin steps out for Tosten Wennberg, and Lunstrom sears through “Cottontail” and Lindberg is splashy on “Moonlight in Vermont”. Swinging northern lights."
—George W. Harris (June 10, 2024)
https://www.jazzweekly.com/
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"A music critic described Swedish composer and pianist Nils Lindberg as a “musical knight,” riding on the frontiers of music. I looked through his extensive discography and saw jazz, classical composition, Swedish folk music. He was a busy guy. When it comes to jazz he worked with the great Swedish jazz vocalist, Alice Babs. He wrote arrangements for Duke Ellington. He worked with Josephine Baker, Judy Garland, and Mel Torme.
The Swedish Modern Jazz Group, recorded in 1960, didn’t have any brass players, but you get a lot of saxophone. The arrangements are silky smooth. It’s West Coast California cool, with a touch of the older swing band sound.
On ‘Curbits ’Lars Gullin has the first solo on baritone sax, and it’s gorgeous. Allan Lundström solos next on the tenor sax. Rolf Billberg steps in next on the alto sax. I’m struck by how good all the saxophone players are. Was there something in Sweden’s drinking water that turned sax players into phenomenal soloists?
Lindberg was a fine jazz pianist, but maybe a bit tentative. He sure knew how to write pretty melodies.
Lars Gullin intros ‘Brand New,’ There’s a lovely duet with bassist Sture Nordin. The basslines are thick and resonant. Lindberg’s piano dances along the upper keys, creating a charming contrast. Harry Bäcklund and Allan Lundström, both on tenor sax, collaborate and then trade off amazing solos. Drummer Conny Svensson’s brushwork on the cymbals is flawless.
Lindberg composed most of the music, but the band does Charlie Ventura’s ‘Birdland, ’and it’s a knockout. Beautiful unison playing, drummer Svensson is given free rein, and he goes for it. There is a fabulous alto solo from Billberg. The rest of the sax players show their stuff. I was familiar with Lars Gullin. I had not heard of these other great sax men.
There are four tracks from another of Lindberg’s bands, Nil Lindberg’s TV Orkester. Trumpeter Maffy Faley and trombonist Ake Peerson were added. Tosten Wennberg replaced Lars Gullin on the baritone sax. Their version of ‘Cotton Tail ’was performed by a much smaller outfit than the Duke Ellington orchestra, but they played their hearts out. There are some excellent solos from everyone, even Lindberg, despite having to play on a tinny-sounding piano.
‘Blues For Bill ’is another Lindberg composition. Bass and piano comp for a bit, and then there is this great theme. It reminded me of the theme from The Andy Griffith show. The band plays in unison, before the tenor sax, trumpet, and trombone show off their improvization skills.
SAX APPEAL is a great album. If you’re not that familiar with Swedish jazz, this is a good place to start.
There is no better jazz reissue label than Fresh Sound Records. They remaster everything they put out. Many times, the reissue sounds better than the original."
—Tim Larsen (June 6, 2024)
https://jazzviews.net/
