Karin Krog - Karin Krog (Live)

Styles: Vocal
Year: 2024
Time: 50:45
File: MP3 @ 320K/s
Size: 116,9 MB
Art: Front

(4:33) 1. All I Want
(5:52) 2. Once Upon a Summertime/Watch What Happens
(4:01) 3. I'm Shadowing You
(5:20) 4. Who Knows
(4:10) 5. My Romance
(2:54) 6. On a Clear Day
(4:44) 7. Don't Get Scared
(4:10) 8. It Could be Hip
(3:10) 9. Sweet Talker
(8:34) 10. Canto Mai
(3:12) 11. Everytime We Say Goodbye

Karin Krog is perhaps Norway’s leading jazz singer and certainly its most idiomatic. She is a unique song artist with a great international reputation, possessing her own distinctive style and voice. Her constantly creative approach towards contemporary jazz has never been bound by tradition, even though her music bears a deep respect for its forms. Karin is equally at home with jazz standards, blues or electronic experimental techniques and has continued to explore all of these avenues throughout her long career.

In addition to Karin’s work as a vocalist she has been active in improving the working conditions for musicians, and contributing towards a vital jazz milieu in Norway. In 2014 she celebrated 50 years since her first LP as a solo artist was released.

Karin Krog was born in Oslo, Norway, on the 15th of May 1937, and started to sing during her teenage years together with various local musicians. She attracted attention during jam sessions at the Penguin club in Oslo, and in 1955 was hired by the pianist Kjell Karlsen to sing in his sextet. Her broadcasting debut on Norwegian radio happened during the following year. By 1957 Karin was singing at the Humlen Restaurant in Oslo in company with some of the best Norwegian jazz musicians of that time, among others tenor saxophonist Mikkel Flagstad and pianist Einar Iversen and going on to participate in several Norwegian jazz concerts towards the end of the decade.

Karin was a natural choice on the bill when the very first Molde International Jazz Festival was formed, appearing there with Kjell Karlsen’s quartet. From 1962 she fronted her own groups as well as singing with trombonist Frode Thingnæs’ Quintet and pianist Egil Kapstad’s trio. During the period from 1962 to 1969 Karin studied with the American singer Anne Brown (the first Bess in Gershwin’s “Porgy and Bess”).

Karin’s recording debut, in 1963, was on the LP “Metropol Jazz”. She made her own solo album “By Myself” in 1964, and performed the same year at the Antibes festival, the Gyllene Circeln in Stockholm, and the Kongsberg Jazz Festival in Norway. In 1965 Karin received the Buddy award, the most coveted mark of honour from the Norwegian Jazz Federation. That same year Krog and several of her colleagues formed the Norwegian Jazz Forum, where she became its first chairman. The Forum was instrumental in getting jazz out of the night-clubs and into concert settings, thus securing a place for live jazz performance and providing a platform for jazz musicians to perform and to receive inspiration....More.. https://karinkrog.no/biography/

Karin Krog (Live)

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Karin Krog, Georgie Fame - On a Misty Night: The Songs of Tadd Dameron

Styles: Vocal
Size: 153,8 MB
Time: 66:41
File: MP3 @ 320K/s
Year: 2018
Art: Front

1. On a Misty Night (7:17)
2. I'm Never Happy Anymore (5:59)
3. If You Could See Me Know (7:49)
4. Accentuate the Bass (5:35)
5. That´s the Way It Goes (4:11)
6. Take a Chance on Spring (5:00)
7. Dig It (3:52)
8. The Happy Heart (4:06)
9. Never Been in Love (5:21)
10. Good Bait / Ladybird (6:31)
11. Fointainbleau / Trane (5:16)
12. That´s the Way It Goes - Alternative Version (5:36)

Jazz connoisseurs know all about the magic of Cleveland born pianist, composer and arranger Tadd Dameron, best known perhaps for his tune ‘On A Misty Night’. One of Dameron’s biggest advocates is national treasure George Fame. Georgie has recorded ‘Misty Night’ on at least two occasions and regularly features it in his live shows, so when he was invited to join a musical tribute to Dameron, he jumped at the chance.

The invite came via Norwegian jazz pianist Per Husby who was persuaded by jazz chanteuse Karin Krog to investigate the oft-neglected work of Dameron. This was back in 1983 when Husby and Krog recorded four Dameron songs that, sadly, were never released at the time. The duo presented the songs at the Molde Jazz Festival in 1984 and despite a tape running, the live recording was deemed poor quality and never issued. Then ’85 a CD, ‘Dedications’, was finally released by Hot Club Records. By this time George Fame had come on board after Husby had asked him to add lyrics to a number of the tunes and the album eventually won a Norwegian Grammy.

In 1996 the Husby/Krog pairing was resurrected by record label owner Bjørn Petersen who had the team record more Dameron songs in New York but after a “soft” and critically acclaimed release the project floundered.

Ms Krog, though, is nothing if not dogged and last year managed to persuade Odin Records that there was just too much good music in the can to lay unappreciated. So the label team put together this “new” Todd Dameron tribute album which contains recordings from 1984, ’85 and ’96.

The album is named for Dameron’s best-known song and this 7 minute plus version of ‘On A Misty Night’ opens proceedings. On it Fame and Krog share the vocal as they do on other Dameron classics like the sprightly ‘Dig It’, ‘That’s The Way it Goes’ and the clever medley of ‘Good Bait’ and ‘Ladybird’. Georgie’s out on his own on ‘Accentuate The Bass’ while Ms Krog enjoys five solos including the surprising ‘I’m Never Happy Anymore’. She also features on the medley of ‘Fontainebleau’/’Trane’ and ‘That’s The Way It Goes’. Both those tracks, from the live Molde Jazz Festival recording, have never been issued in any format before.

It all sounds very confusing, doesn’t it? At last, though, more jazz fans can enjoy more of the artistry of Georgie Fame and Karin Krog, the arranging skills of Per Husby and, above all, the wonderful tunes of Tadd Dameron.
https://www.soulandjazzandfunk.com/reviews/karin-krog-a-georgie-fame-on-a-misty-night-odin-records/

Personnel: Vocals – Georgie Fame, Karin Krog; Alto Saxophone – Guttorm Guttormsen, Vidar Johansen; Alto Saxophone, Soprano Saxophone – Jerome Richardson; Baritone Saxophone – John Pål Inderberg , Scott Robinson ; Baritone Saxophone, Bass Clarinet – John Surman; Bass - Jay Leonard, Terje Venaas; Drums – Egil Johansen, Grady Tate; Flute – Vidar Johansen; French Horn – Odd Ulleberg , Peter Gordon ; Guitar – Bucky Pizzarelli; Orchestra – Per Husby Orchestra; Piano – Egil Kapstad , Ted Rosenthal; Soloist [Trumpet Solo] – Atle Hammer, Michael Leonhart; Soprano Saxophone – Vidar Johansen; Soprano Saxophone, Clarinet, Flute – Guttorm Guttormsen; Tenor Saxophone, Flute – Frank Wess , Knut Riisnæs; Trombone – Frode Thingnæs, Jim Pugh; Trumpet – Atle Hammer , Earl Gardner, Jan Allan, Martin Drover, Michael Leonhart , Petter Kateraas; Tuba – Howard Johnson , Stein Erik Tafjord

On a Misty Night: The Songs of Tadd Dameron

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Karin Krog & John Surman - Infinite Paths

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 48:01
Size: 110,5 MB
Art: Front

( 5:38) 1. Wild Bird
( 4:21) 2. World Overheard
( 6:58) 3. Casting High
( 3:59) 4. Picture Postcard
( 9:18) 5. Mother of Light
(12:38) 6. The Red Dragon
( 5:05) 7. Infinite Paths

Although vocalist Karin Krog and saxophonist John Surman have been appearing in concert as a duo for over three decades, all of the recordings available until now have been studio based. Finally, with this album, comes the opportunity to hear a recording of the duo performing live. With the assistance of Ben Surman's electronic wizardry the duo are able to re-invent a few old favourites from their repertoire and spontaneously explore some completely new territory in front of an enthusiastic audience. https://www.propermusic.com/mr23-infinite-paths.html

Personnel: Karin Krog (vocal), John Surman (soprano and baritone sax, bass clarinet, recorders), Ben Surman (electronics)

Infinite Paths

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Karin Krog, Morten G. Larsen - In a Rag Bag

Styles: Vocal And Piano Jazz 
Year: 2012
File: MP3@320K/s
Time: 56:24
Size: 228,8 MB
Art: Front

(3:17)  1. Old Piano Roll
(3:02)  2. Euphonic Sounds
(2:58)  3. Way Down Yonder in New Orleans
(7:27)  4. In the Dark / In a Mist
(3:14)  5. I'm Comin' Virginia
(3:59)  6. Dear Bix
(3:28)  7. Going Home
(4:29)  8. Olympia Rag - Norsk Rag no. 5
(4:19)  9. Spanish Steps
(3:42) 10. Feeling too Good Today Blues
(5:12) 11. Ain't Misbehavin' / I`ve Got a Feeling I`m Falling
(3:51) 12. Wild Cat Blues
(4:32) 13. Blue Turning Grey Over You
(2:49) 14. The Joint is Jumpin`

Singer Karin Krog and pianist Morten Gunnar Larsen are two of Norway's most acclaimed jazz musicians with international reputations; Karin most famously for her work with John Surman and their albums on ECM, and Morten for his exuberance as a practitioner of ragtime piano with a modern twist. Inspired by the pioneers of early jazz piano, Morten is a disciple and acknowledge authority on the work of legendary ragtime pianist and lyricist, Eubie Blake. 'In a Rag Bag' features a programme of ragtime compositions ranging from early composers such as Scott Joplin, Bix Beiderbecke and Fats Waller, through to contemporary composers as Leiber & Stoller and Dave Frishberg. Also included is a surprise composition from John Surman that references the style of Eubie Blake. ~ Editorial Reviews https://www.amazon.com/Karin-Krog-Morten-Gunnar-Larsen/dp/B009UUKOAM

Personnel: Karin Krog (vocals), Morton Gunnar Larsen (piano)

In a Rag Bag

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Karin Krog, Bengt Hallberg - Two of a Kind

Styles: Vocal And Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 47:33
Size: 111,6 MB
Art: Front

(4:33)  1. My Man
(2:36)  2. Jeepers Creepers
(3:57)  3. You Must Believe in Spring
(2:16)  4. The Touch of Your Lips
(2:29)  5. The End of the Day Song
(4:12)  6. I Ain't Here
(3:40)  7. Like That
(2:39)  8. Halleluja I Love Him So
(3:47)  9. Spring in Manhattan
(2:01) 10. Love Valk In
(2:40) 11. Dear Bix
(2:01) 12. I'm Coming Virginia
(3:43) 13. Ain't Nobody's Business
(4:03) 14. Cabin in the Sky
(2:48) 15. A Child Is Born

An adventurous singer who is quite versatile, Karin Krog is able to sing anything from standards to fairly free improvisations. She made her recording debut in 1964, appeared at many jazz festivals in Europe in the mid-’60s, and in 1967, came to the U.S., performing and recording with the Don Ellis Orchestra and Clare Fischer’s trio. A world traveler based in Europe, Krog has recorded fairly steadily through the years, using such sidemen as Kenny Drew, Niels-Henning Orsted Pedersen, Jan Garbarek, Ted Curson, Dexter Gordon, Palle Mikkelborg, Steve Kuhn, Steve Swallow, Archie Shepp, Bengt Hallberg, and John Surman; she has made records for Philips, Sonet, Polydor, and other European labels.

Personnel: Karin Krog - vocals, producer; Bengt Hallberg - piano

Two of a Kind

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Karin Krog - Folkways

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 48:42
Size: 112,8 MB
Art: Front

(3:36)  1. Waly Waly (The Water Is Wide)
(1:32)  2. Ola Ola Min Eigen Unge
(2:59)  3. Nissespill Og Fans Polka
(4:27)  4. Malfrid Min Frue
(1:51)  5. Arve Brakars halling (versjon 2)
(3:28)  6. Lokk
(1:05)  7. Pathway
(2:46)  8. Fingubben
(2:13)  9. Melodi
(2:07) 10. Brudedans
(2:18) 11. Purka
(1:49) 12. Gjestebudet
(2:45) 13. Vakker er du
(2:36) 14. Soldaten og jenta
(1:52) 15. Huldrevise
(2:48) 16. Halling medley / Arve Brakar
(1:45) 17. Bansull
(5:33) 18. Raga Variations
(1:03) 19. Pathway

Jazz singer Karin Krog may have made stormy improv recordings with a young Jan Garbarek in the late 60s, but this is almost entirely a folk album, devoted to the traditional Norwegian music collected by her violinist great-grandfather, Anders Heyerdahl. As such, it perhaps refines the notion of a niche-market venture more tightly than usual, but folk devotees and jazz admirers of Krog's graceful handling of the malleability of tone will warm to this highly personal set  which features her partner and collaborator John Surman as a second voice on various reed instruments. 

Krog's deceptive simplicity guides an expressive account of The Water Is Wide as an opener, but almost all the rest of the material is sung in Norwegian some of it jiggily fiddle-driven and Celtic-sounding, some of it like stately lullabies or gospel songs, such as Krog's solo exposition Arve Brakar. Norwegian contemporary composer Arne Nordheim contributed Raga Variations, a tapestry of wordless vocal sighs, Surman's wraith-like soprano sax and subtle electronics a set of sonic surprises the album could perhaps have used a little more of, but it's beautifully executed. ~ John Fordham https://www.theguardian.com/music/2011/mar/03/karin-krog-folkways-review

Folkways

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Karin Krog, Per Borthen Swing Department - Swingin' Arrival

Bitrate: MP3@320K/s
Time: 39:05
Size: 89.5 MB
Styles: Swing
Year: 1980
Art: Front

[4:21] 1. Sailboat In The Moonlight
[2:45] 2. Did You Mean It
[3:44] 3. When A Woman Loves A Man
[4:09] 4. Wop
[4:18] 5. The Moon Looks Down And Laugh
[4:06] 6. When Day Is Done
[3:07] 7. Say It With A Kiss
[4:23] 8. I Can't Believe That You're In Love With Me
[3:32] 9. What Shall I Say
[4:35] 10. Moten Swing

Alto Saxophone – Kristian Bergheim; Bass – Bjørn Pedersen; Drums – Arvid Bjerke[ Guitar – Finn Westbye; Tenor Saxophone – Totti Bergh; Trombone – Aage Teigen; Trumpet – Per Borthen; Vocals – Karin Krog.

Karin Krog (born May 15, 1937 in Oslo) is a Norwegian jazz singer. She is considered one of Norway's premier jazz singers and enjoys great international recognition. She is the granddaughter of musician/composer Anders Heyerdahl. Karin Krog's career began at jam sessions at Penguin Club in Oslo under contract as a singer in Kjell Karlsen's sixth (1955). In the following period she became known throughout the radio, and when the first jazz festival in Molde was held, she also sang there with Kjell Karlsen's quartet. In 1962 she started her first own band, but also collaborated with Frode Thingnæs and Egil Kapstad. In 1964 she released her first solo album, By Myself. In 1965 she joined the Norwegian Jazz Forum and became leader of this. In 1969, she began studying song at Ivo Knecevic. In the following years, she has collaborated with a host of well-known national and international musicians, such as Jon Christensen, Niels-Henning Ørsted Pedersen, Kenny Drew, Don Ellis, Archie Shepp, John Surman, Red Mitchell, Bengt Hallberg and others.

Per Borthen (born July 12, 1940) is a Norwegian jazz musician (trumpet) and band leader. His own "Per Borthen Swing Department Ltd." was established in 1966. They performed with Swingin 'Arrival (Talent Studios, 1980), participated in Jazz in Norway 1960-1970 (Herman Records) and Swingin' (Evigo, 2001) with vocalist contributions from Karin Krog and Laila Dalseth (as a time-song with the group).

Swingin' Arrival

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Karin Krog, John Surman - Cloud Line Blue

Styles: Vocal 
Year: 1979
File: MP3@320K/s
Time: 41:15
Size: 103,6 MB
Art: Front

(4:27)  1. Alone Song
(6:53)  2. New Spring
(6:29)  3. Eyeless In Movement
(7:27)  4. Jonathan
(4:09)  5. Empty Streets
(8:51)  6. Cloud Line Blue
(2:55)  7. Edge Piece

An adventurous singer who is quite versatile, Karin Krog is able to sing anything from standards to fairly free improvisations. She made her recording debut in 1964, appeared at many jazz festivals in Europe in the mid-'60s, and in 1967, came to the U.S., performing and recording with the Don Ellis Orchestra and Clare Fischer's trio. A world traveler based in Europe, Krog has recorded fairly steadily through the years, using such sidemen as Kenny Drew, Niels-Henning Orsted Pedersen, Jan Garbarek, Ted Curson, Dexter Gordon, Palle Mikkelborg, Steve Kuhn, Steve Swallow, Archie Shepp, Bengt Hallberg, and John Surman; she has made records for Philips, Sonet, Polydor, and other European labels. ~ Scott Yanow https://itunes.apple.com/us/album/cloud-line-blue/297152847

Cloud Line Blue

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Karin Krog & Bergen Big Band - Seagull

Styles: Vocal, Swing
Year: 2005
File: MP3@320K/s
Time: 56:38
Size: 130,3 MB
Art: Front

(3:08)  1. Sweet Talker
(4:12)  2. La Calada
(3:35)  3. Lament
(4:10)  4. My Shining Hour
(7:29)  5. The Seagull
(4:51)  6. Northern Sun
(3:52)  7. Don't Get Around Much Anymore
(4:45)  8. Jubilee
(4:21)  9. Canto Mai
(6:24) 10. Don't Just Sing
(5:36) 11. Angel Eyes
(4:09) 12. You'd Better Love Me

Norwegian singer Karin Krog is best known in more avant-garde settings, so this big band session of standards came as a surprise. The experience grew more and more pleasant as the music progressed Krog's conversational delivery is engaging and her obvious joy in the music is infectious. Approaching 70, Krog is as energetic and as thoughtful as ever; while her experimental work may be better, this new disc sports many fine arrangements, some convicted playing and a lot of fun. The Bergen Big Band is full of life, contributing too many fine solos to mention here. Little prepared me, though, for "Angel Eyes, which rumbles into frantic action, only to subdue immediately into angst-ridden reflection. "Try to think that love's not around still, it's uncomfortably near, Krog intones, even scarier than Patty Waters, to whom she owes a blatantly obvious debt. The arrangement is different than anything else on the disc, starkly individual and unnerving. Of course, it could be by none other than Don Ellis, and the ease with which he juxtaposes traditional harmonies and weird dissonances speaks to his mastery, British reedsman John Surman's excellent direction, and the fine musicianship of all involved. While "Angel Eyes makes the disc for me, repeated listening reveals many great moments. There's something here for every jazz listener, and the fine playing and singing transcend any stylistic disunity caused by the diverse material. ~ Marc Medwin https://www.allaboutjazz.com/seagull-bergen-big-band-grappa-review-by-marc-medwin.php

Personnel: Karin Krog: vocals; Bergen Big Band.

Seagull

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Karin Krog & John Surman - Bluesand

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 55:03
Size: 126,5 MB
Art: Front

(4:44)  1. The Nightingale
(3:19)  2. Ribbon Of Sand
(4:50)  3. Sombre Woods
(4:33)  4. Voice Shadow
(4:26)  5. It Could Be Hip
(7:03)  6. Don't Just Sing
(2:50)  7. SAS Blues
(2:41)  8. So Blue
(6:31)  9. Bluesand
(1:52) 10. Hiden Dreams
(5:31) 11. Secret Games
(6:38) 12. Fly Away

An adventurous singer who is quite versatile, Karin Krog is able to sing anything from standards to fairly free improvisations. She made her recording debut in 1964, appeared at many jazz festivals in Europe in the mid-'60s, and in 1967, came to the U.S., performing and recording with the Don Ellis Orchestra and Clare Fischer's trio. A world traveler based in Europe, Krog has recorded fairly steadily through the years, using such sidemen as Kenny Drew, Niels-Henning Orsted Pedersen, Jan Garbarek, Ted Curson, Dexter Gordon, Palle Mikkelborg, Steve Kuhn, Steve Swallow, Archie Shepp, Bengt Hallberg, and John Surman; she has made records for Philips, Sonet, Polydor, and other European labels. ~ Scott Yanow https://itunes.apple.com/mt/album/bluesand/id296953304

Bluesand

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Karin Krog, Steve Kuhn Trio - Where You At?

Styles: Vocal And Piano Jazz 
Year: 2003
File: MP3@320K/s
Time: 53:45
Size: 125,1 MB
Art: Front

(5:44)  1. The Meaning of Love (Feat Steve Kuhn)
(3:55)  2. Where You At (Feat Steve Kuhn)
(4:33)  3. Lazy Afternoon
(5:23)  4. It Could Be Hip
(4:30)  5. Speak Of Love
(5:34)  6. Canto Mai
(7:38)  7. Saharan
(3:37)  8. You Say You Care
(4:33)  9. Kaleidoscopic Vision
(4:07) 10. Missing Calada
(4:06) 11. Gloomy Sunday

One of Europe's leading jazz singers meets piano virtuoso Steve Kuhn and his trio: creative, swinging, original, and very charming! Karin Krog is perhaps Norway's leading jazz singer, and certainly its most idiomatic. She is a unique artist with a great international reputation, and possesses her own recognizable style and voice. She has worked with Don Ellis, Archie Shepp, Dexter Gordon, John Surman, and more. "A band poised between the drummer's rugged swing and a robustly underwired lyricism." (Penguin Guide To Jazz) ~ Editorial Reviews https://www.amazon.com/Where-You-at-Karin-Krog/dp/B00009XBX7

Personnel:  Vocals – Karin Krog;  Double Bass – David Finck;  Drums – Billy Drummond;  Piano – Steve Kuhn

Where You At?

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Karin Krog - We Could Be Flying

Bitrate: MP3@320K/s
Time: 34:51
Size: 79.8 MB
Styles: Funky jazz vocals
Year: 1974/2007
Art: Front

[5:59] 1. We Could Be Flying
[5:02] 2. Meaning Of Love
[2:54] 3. Sometime Ago
[3:26] 4. All I Want
[5:36] 5. Sing Me Softly Of The Blues
[3:41] 6. Raindrops, Raindrops
[2:46] 7. Lament
[2:19] 8. Hold Out Your Hands
[3:02] 9. Time To Go

Bass – Steve Swallow; Drums, Percussion – Jon Christensen; Keyboards – Steve Kuhn; Vocals – Karin Krog.

Recorded for Polydor, six years after her landmark Joy album, this set features Norwegian jazz iconoclast Karin Krog in the electric company of keyboardist Steve Kuhn, drummer percussionist Jon Christensen, and Steve Swallow on one of his early electric bass dates. More song-oriented than her other vanguard dates, We Could Be Flying still showcases the singer in a restless, searching frame of creativity. Obviously influenced by the work Flora Purim had done with Return to Forever and the heyday of jazz-rock fusion, Krog nonetheless puts her indelible stylistic stamp on all the material here. The best tunes here were written by Kuhn, who seems to understand the subtlest nuances in Krog's performing style, as evidenced by "Meaning of Love," with its driven, wispy Latin rhythms and melodic lines that seem to bleed into one another, capturing the softness of Krog's enunciation. The seemingly rocked-up cover of Joni Mitchell's "All I Want" feels out of place here, the band feels stilted into trying to rein themselves into the conventional cut-time signature and fixed spaces where fills are almost unwelcome. While Mitchell's own version is far looser and spacier than this, the band seems to have misunderstood her original intent in this song. The co-write between Carla Bley and Krog on "Sing Me Softly of the Blues," finds the band back on its square, swinging the blues in cool nocturnal fashion with Christensen's swinging cymbal work carries the band underneath the singer's husky contralto. The finest moment here is the funky "Raindrops, Raindrops" written by Kuhn, where his electric piano and double-time bass and drums fall in just behind Krog's shimmering, airy performance. This recording is a fine document of its time, capturing its naivete, sense of adventure, and its willingness to step outside the jazz and vanguard box while never giving in to pop convention. Recommended. ~Thom Jurek

We Could Be Flying

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Karin Krog / Jacob Young - Where Flamingos Fly

Styles: Vocal And Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 55:15
Size: 147,7 MB
Art: Front

(4:44)  1. Where Flamingos Fly
(5:08)  2. Prelude To A Kiss
(3:32)  3. Once I Loved
(4:29)  4. Last Night When You Were Young
(3:32)  5. I'm Shadowing You
(4:49)  6. I'll Be Seeing You
(5:26)  7. Caravan
(4:52)  8. Everything Happens To Me
(5:09)  9. Northern Sun
(5:13) 10. Cry Me A River
(3:17) 11. K.C. Blues
(4:59) 12. Everytime We Say Goodbye

Norways leading Lady in jazzmusic Karin Krogh gets together with young aspiring guitarplayer Jacob Young in another great duo album. Karin Krog is perhaps Norway's leading jazz singer and certainly its most idiomatic. She is a unique song artist with a great international reputation possessing her own recognizable style and voice. Her constant creative approach towards contemporary jazz has never been bound by tradition, even though her music bears a deep respect for its forms. Karin is equally at home with jazz standards, blues or electronic experimental techniques. In addition, she has been active in improving the working conditions for musicians and contributing towards a vital jazz milieu. In 1994 she celebrated 30 years since her first released LP as a solo artist. http://www.gubemusic.com/album_9002

Where Flamingos Fly

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Karin Krog - Jazz Moments

Bitrate: MP3@320K/s
Time: 47:47
Size: 109.4 MB
Styles: Post bop, Vocal jazz
Year: 1966/2006
Art: Front

[5:20] 1. I've Got Your Number
[6:08] 2. Old Folks
[5:08] 3. All Of You
[6:05] 4. Baby Want't You Please Come Home
[3:00] 5. Dearly Beloved 1
[5:19] 6. Glad To Be Unhappy
[4:50] 7. I Can't Get Started
[3:28] 8. Just In Time
[4:43] 9. Body And Soul
[3:41] 10. Dearly Beloved 2

Bass – Niels-Henning Ørsted Pedersen (tracks: Niels Henning Ørsted Pedersen); Drums – Jon Christensen; Piano – Kenny Drew; Tenor Saxophone – Jan Garbarek; Vocals – Karin Krog. Recorded in Copenhagen, Denmark, 1966.

Incredible early work from vocalist Karin Krog – a mid 60s session, but one that already shows that she was thinking farther than most other singers of the time! The timings on the tunes are quite unusual – a bit like those used by Sheila Jordan in the 60s, but often even more personally pointed – in a way that makes even familiar tunes come across as if they're spontaneous expressions by Krog. Karin's working here with beautiful small combo backing from a quartet that includes Jan Garbarek on tenor, Kenny Drew on piano, Niels Henning Orsted Pedersen on bass, and Jon Christensen on drums – but the album's also arranged in a wonderful way that often has the vocals hanging out there alone, beautifully unsupported. Titles include "Body & Soul", "All Of You", "Dearly Beloved", "I Got Your Number", "Old Folks", "I Can't Get Started", and "Glad To Be Unhappy". CD also fetaures a bonus alternate of "Dearly Beloved".

Jazz Moments

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Scott Hamilton & Karin Krog - The Best Things In Life

Size: 119,3 MB
Time: 51:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Best Things In Life Are Free (3:17)
02. I Must Have That Man (5:18)
03. Will You Still Be Mine (8:06)
04. How Am I To Know (3:04)
05. Don't Get Scared (4:50)
06. Ain't Nobody's Business (4:44)
07. We Will Be Together Again (5:28)
08. Sometimes I'm Happy (5:02)
09. What A Little Moonlight Can Do (4:29)
10. Shake It But Don't Break It (6:58)

Personnel: Karin Krog (voc), Scott Hamilton (ts), Jan Lundgren (p), Hans Backenroth (b), Kristian Leth (d).

It is a common phenomenon to fall in love with a voice. Some even say that for a voice to have integrity in jazz, one must fall in love with it. In the ‘60s and ‘70s many people fell in love with Norwegian vocalist Karin Krog. She introduced young audiences to jazz. They suddenly realized that while Sweden had Monica Zetterlund, Norway had Karin Krog – and Denmark did its best to bring these stars to Copenhagen. Ever since, she has mesmerized crowds with her classic jazz vocals as well as her versatility. For Karin Krog is immune to genre boxes. She collaborates with the finest Scandinavian artists and with international stars in a wide range of styles (including Steve Kuhn, Archie Shepp, John Surman, Dexter Gordon, Kenny Drew and Niels-Henning Ørsted Pedersen). Her phrasing and intonation are easily recognizable, and she seems to have taken Billie Holiday’s statement of “hating straight singing” to heart. Karin is naturally compelled to change a song and make it her own. Her interpretations are always deeply personal while also so obviously right.

When asked by American tenor saxophonist Scott Hamilton to take part in a tribute recording for Billie Holiday’s would-be 100th birthday, Karin was very pleased. But soon Karin and Scott broke the boundaries of the original project. Scott agrees that as long as one has a story to tell, the choice of tune is less important.

Jazz isn’t always about innovation. It is equally important to keep the flame kindled, and no one does this better than Scott Hamilton. Active since the ‘70s, he has kept closer to his initial starting point – swing – than Karin Krog. His love for and knowledge of the music from the ‘30s and ‘40s and the tenor giants of the period are genuine. Emerging at a time when jazz-rock owned the scene, he didn’t follow in the wake of the modernistic masters of the day, preferring a much less trendy path. He has since matured to become the Scott Hamilton we listen to now – a musician all his own: unpretentious, with great musicality and integrity, devoid of enlarged ego, sensitive, and with a genuine joy in playing.

Karin’s voice is as full of vitality as ever, and her approach to the tunes presented here is refreshing and new. And just like Scott’s playing – straight from the heart. They are a fine match and obviously agree that the music is at the center. It is a pleasure to hear these mature artists in great form in close interplay with two Swedes, pianist Jan Lundgren and bassist Hans Backenroth, and Danish drummer Kristian Leth.

On top of a repertoire of standards, this album also features a rare jazz specialty, “vocalese” – the use of recorded jazz solos as basis for a new set of lyrics. Karin tells about Don’t Get Scared, that back in the ‘50s, she started learning a vocalese version based on solos by Stan Getz and Lars Gullin with lyrics by Jon Hendricks. After a gig in Oslo, tenor saxophonist Lucky Thompson hung out at Karin’s home with a few friends. She played King Pleasure’s version and explained that she had a problem understanding some of the words. Lucky sat patiently at the piano writing down the whole story. At the time, she didn’t know that he himself performed on the recording! She also told Scott that she knew a version with lyrics to a Lester Young solo from a recording of Sometimes I’m Happy. He knew the version and suggested a vocalese based on Slam Stewart’s bass solo. Karin has the old 78, and with help from British sax player John Surman, they took it apart and put words to it. A dedicated Slam Stewart fan, bassist Hans Backenroth transcribed the solo and played it to the new lyrics. In her cover notes Karin comments on each tune and also observes that Scott already seems to have recorded everything from the Great American Songbook. However one tune stood out: The Best Things In Life Are Free. “I had always yearned to record it – what better opportunity than now?”

THE BEST THINGS IN LIFE... A song and an album reminding us what is most important in life and what great jazz can do.

The Best Things In Life

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Karin Krog - Don't Just Sing: An Anthology 1963-1999

Size: 186,0 MB
Time: 79:56
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. As A Wife Has A Cow (0:55)
02. Lazy Afternoon (4:36)
03. We Could Be Flying (6:02)
04. Raindrops, Raindrops (3:45)
05. Blues Eyes (4:54)
06. Ode To Billy Joe (8:19)
07. Images In Glass (5:20)
08. Tystnaden (4:17)
09. Maiden Voyage (4:42)
10. Just Holding On (3:32)
11. Don't Just Sing (6:59)
12. Glissando (4:24)
13. Break Of Day In Molde (2:19)
14. All I Want (3:29)
15. Cloud Line Blue (8:56)
16. A Love Supreme (7:18)

The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she’s practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog’s albums weren’t available in the USA or UK, meaning three decades of recordings were waiting to be discovered. In theory, until now, she hasn’t had any regularly distributed albums in the US or the UK–this is certainly the first one even marketed/promoted in here and in England. With this anthology of her best recordings from 1963 to 1999–curated with Krog’s own input–we hope to set the record straight.

To listen to opening track “As A Wife Has A Cow” is to jump into the deep end. It’s 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too–and that’s Krog’s USP. Don’t Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist/multi- instrumentalist and composer. Like Annette Peacock, Krog experiments with solo vocals run through electronics and performs with progressive electric jazz combos and traditional acoustic groups as well.

Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964’s By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. “There is such a thing as too much manipulation,” says Krog today.

Recorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968’s Joy is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell’s “All I Want” and Bobby Gentry’s “Ode To Billy Joe,” both of which show how Krog brought jazz aesthetics to pop songs of the day. “I remember that there was a lot of buzz around Blue, and Joni Mitchell is, as everybody knows, a very talented singer and songwriter,” says Krog in the new liner notes.

“Glass" and “Tystnaden" are the two previously unreleased finds from the archives, the former written for a British documentary in 1997, the latter a soundscape improvisation from a 1963 studio session with Lars Werner on piano, Kurt Lindgren on bass, and Janne Carlsson on drums. The compilation rounds off with the “Psalm” movement from John Coltrane’s monumental piece, A Love Supreme. Krog’s version came at suggestion of the man himself. “It was John who pointed to the text on the inner sleeve of the Impulse! LP and said, ‘Karin, look. Why don’t you sing this?’” she remembers.

Krog remains fiercely productive, recording, performing, and running Meantime records from her and John’s villa near Oslo. Now 77, she’s showing no signs of slowing down. “Everybody has to retire at some point, but I believe that once a musician, you’re always a musician,” she says. “If I can’t stand up and sing on stage anymore, I can always do it sitting down!”

Curated with Krog’s own input, this anthology showcases her best recordings from 1963 to 1999, including songs from 1968’s groundbreaking Joy, her 1970 Dexter Gordon collaboration Some Other Spring, her pop-jazz masterwork 1974’s We Could Be Flying, tracks from the Japanese only Different Days, Different Ways which focus on 1970-72 experimental vocal works, and previously unreleased tracks.

Don't Just Sing

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Karin Krog & Steve Kuhn - Break Of Day

Size: 127,7 MB
Time: 54:56
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. I'm Old Fashioned (3:39)
02. Break Of Day In Molde (5:13)
03. The Folks Who Live On The Hill (5:26)
04. Skandia Skies (3:21)
05. How Do You Keep The Music Playing (3:21)
06. The Way You Look Tonight (3:02)
07. Love Came On Stealthy Fingers (4:10)
08. Thank You For Everything (3:49)
09. You Do Something To Me (3:08)
10. Little Butterfly (Pannonica) (4:09)
11. Did I Remember (3:46)
12. Trane (4:54)
13. Time's Getting Tougher Than Tough (3:01)
14. Everytime We Say Goodbye (3:48)

Trumpeter Lew Soloff and Tenorist Eric Alexander join Karin and Steve on several tracks of this exciting CD, recorded in NYC in the autumn of 2013.
Critic Tor Hammero writes : "Krog and Kuhn speak the same musical language and understand each other intuitively."

An adventurous singer who is quite versatile, Karin Krog is able to sing anything from standards to fairly free improvisations. She made her recording debut in 1964, appeared at many jazz festivals in Europe in the mid-'60s, and in 1967, came to the U.S., performing and recording with the Don Ellis Orchestra and Clare Fischer's trio. A world traveler based in Europe, Krog has recorded fairly steadily through the years, using such sidemen as Kenny Drew, Niels-Henning Orsted Pedersen, Jan Garbarek, Ted Curson, Dexter Gordon, Palle Mikkelborg, Steve Kuhn, Steve Swallow, Archie Shepp, Bengt Hallberg, and John Surman; she has made records for Philips, Sonet, Polydor, and other European labels. ~ by Scott Yanow

Break Of Day

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Karin Krog & Steve Kuhn - Together Again

Bitrate: MP3@320K/s
Time: 47:18
Size: 108.3 MB
Styles: Vocal jazz
Year: 2006
Art: Front

[6:08] 1. Don't Let The Sun Catch You Crying
[5:04] 2. I Thought About You
[5:14] 3. Alfie
[3:53] 4. Time On My Hands
[5:01] 5. We'll Be Together Again
[4:09] 6. Wee Baby Blues
[3:43] 7. Lazy Afternoon
[3:06] 8. Time After Time
[5:23] 9. Jim
[5:33] 10. The Party's Over

Norway's leading Lady Karin Krogh in collaboration with the great Steve Kuhn. After guesting in Steve's Trio they concluded their work with this stunning duo recording. Krog's many collaborations over the years have featured some of the jazz world's most prominent musicians - Dexter Gordon, Archie Shepp, Warne Marsh, Toots Thielemans, Bengt Hallberg, Red Mitchell, Kenny Drew, Nils Lindberg and John Surman—and several of these collaborations continue to this day. Among them is Krog's ongoing work with Steve Kuhn, whom she first met in the '70s. "He's my favorite pianist, she reports. In recent years they have released two CDs - Where You At? in 2003 and Together Again in 2006 - and last year they toured Japan, where both enjoy wide recognition.

"I love Karin dearly. When I see her I feel like I'm home, says Kuhn. "She is extremely talented and she's slowly getting the recognition she should. Indeed, while Krog is no stranger to awards, just this year she marked her place in Norwegian cultural history, receiving the Anders Jahre Culture Prize, one of Norway's most prestigious awards.

Karin Krogh - Vocal; Steve Kuhn - Piano.

Together Again

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Karin Krog - One on One

Styles: Jazz Vocals
Year: 1997
File: MP3@320K/s
Time: 67:18
Size: 154,1 MB
Art: Front + Back

(2:35)  1. Blues In My Heart
(3:12)  2. You'd Be So Nice To Come Home To
(5:05)  3. These Foolish Things
(2:58)  4. But Not For Me
(6:16)  5. God Bless The Child
(3:22)  6. Just In Time
(3:58)  7. A Song For You
(4:14)  8. Feeling Too Good Today Blues
(5:31)  9. Stardust
(2:02) 10. I Wont Dance
(3:07) 11. Medley: Blue and Sentimental/ Sentimental and Melancholy
(2:49) 12. Scandia Skies
(2:28) 13. I Was Doing All Right
(3:33) 14. I Got The Right To Sing The Blues
(3:05) 15. Sometimes I Feel Like a Motherless Child
(7:21) 16. John Coltrane`s `A Love Supreme`
(2:31) 17. As You Are
(3:07) 18. Going Home

Not overwhelmed with the song now playing on this album? Be patient, the next track may be something more to your liking. This album is a musical smogarsboard of songs cutting across a variety of vocal genre. The play list runs from the traditional "Sometimes I Feel like a Motherless Child," through Hoagy Carmichael's ultimate standard "Stardust" through John Coltrane's poem-song "A Love Supreme" with a little of 1960s popsters Jerry Leiber and Mike Stoller thrown in. It would be unkind to say that the singer is simply trying out everything until she finds something she does well. Not so with Karen Krog, one of the finer and more inventive jazz singers of the last three decades. One on One is a compilation of three different recording sessions Krog made as part of a duo performances. Krog and premier bass player Red Mitchell are on the first six tracks, recorded in 1977. Also recorded in the same year, Krog and Swedish pianist Bengt Hallberg are on tracks seven through fourteen. The last four tracks, recorded in 1980, are devoted to Krog's work with Nils Lindberg, Swedish composer and organist. There are not many singers who would risk singing with just a bass or an organ as accompaniment. The vocalist and bass player must have great musical rapport given the limitations of the instrument. As far as an organ goes it, if not delicately played, can overwhelm the vocalist. The fact that it comes off incredibly well is a tribute not only to Krog, but to Mitchell and Lindberg. The Krog/Mitchell sessions are especially haunting. Mitchell plays cello like passages on Cole Porter's "You'd Be So Nice to Come Home To." His phrasing and articulation seem to be made especially for Krog's vocal inflections and phrasing. Hallberg has been a top performer in Europe for several years and has recorded with Krog before. Lindberg is a composer and, as is evident on the almost sacred rendition of "A Love Supreme," a church organist. This album offers a over an hour of a wide variety of music all showcasing Karen Krog's amazing vocal virtuosity.~Dave Nathan  http://www.allmusic.com/album/one-on-one-mw0000725523

One on One

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