Sylvia Vrethammar, Magnus Lindgren - Vortex

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 52:34
Size: 122,1 MB
Art: Front

(4:05) 1. Round Midnight
(3:26) 2. The Look of Love
(3:00) 3. Love for Sale
(4:28) 4. Corcovado
(3:43) 5. My Love
(4:05) 6. A Felicidade
(4:08) 7. Te Quiero Amor
(4:48) 8. Who Cares?
(4:26) 9. Why Do People Fall in Love?
(5:05) 10. Bewitched, Bothered and Bewildered
(4:05) 11. Spooky
(7:08) 12. Cry Me a River

Singer Sylvia Vrethammar continues to celebrate her 50 years as an artist. Since her debut in 1967 in Rune Öfverman's Trio until today, she has moved easily between jazz, pop, hits and bossa nova. At Vortex , she has brought together six of her favorite jazz musicians: Magnus Lindgren (saxophone, flute), Ulf Wakenius (guitar), Jan Lundgren (piano), Joel Lyssarides (piano) Hans Backenroth (bass) and the German pianist and organist Frank Chastenier. The songs were created during three separate studio sessions with three different trio formations. Instead of arrangements, the end result has been achieved through improvisation in the moment.

We get to listen to a string of pearls of compositions that have always been close to Vrethammar's with authors such as Burt Bacharach, George Gershwin, Richard Rogers, Paul McCartney and Antônio Carlos Jobim. With her directly recognizable, airy, easily veiled voice, the singer makes elegant reinterpretations of the famous melodies. She has been synonymous with the South American rhythms since the early 70's when she was a great success at the song festival in Rio. Especially her Jobim interpretations breathe presence and soul: Corcovado with Lyssarides and Lindgren and A Felicidade with Wakenius and Chastenier. Lundgren and Backenroth come in particularly good harmony with the singer in Bacharach's The Look of Love and Gershwin's Who Cares? .Vortex is only available through digital streaming services.(Translate By Google) By Patrik Sandberg https://orkesterjournalen.com/sylvia-vrethammar-vortex/

Vortex

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Ida Sand with Stockholm Underground - My Soul Kitchen

Styles: Vocal, Piano, Soul 
Year: 2018
File: MP3@320K/s
Time: 44:16
Size: 101,7 MB
Art: Front

(3:26)  1. Take Me to the River
(3:32)  2. Where the Hell Are You
(3:02)  3. Crash & Burn
(3:42)  4. Please, Don't Hurt My Baby
(3:54)  5. I Believe to My Soul
(3:39)  6. Born on the Bayou
(4:34)  7. I Have Nothing Left for You
(3:55)  8. Just Kissed My Baby
(3:36)  9. Empty Bed Blues
(4:37) 10. If You Don't Love Me
(2:45) 11. It's Your Voodoo Working
(3:30) 12. Spooky

Soul music is such a broad genre. There’s funky soul, blue-eyed soul, neo soul, RnB, New Orleans soul, Motown-soul, etc. This album is a blend of those different types of soul music. And putting them together with my own songs, what we have made is a tasty musical stew. There is one composer/artist in particular who has had a huge impact on me and that is Ray Charles, so of course he is represented on this album. I heard Ray Charles as a kid, I think it was “Let the Good Times Roll” and I was dazzled right away. The way he treated the lyric, his rawness and that rhythmic piano really captured me. He has a way of singing from his heart, and that has been and still is my goal as a singer too. Always from the heart. In my opinion, soul music stands out as the genre that has the best voices on Earth: Stevie Wonder, Aretha Franklin, Donny Hathaway, Al Green... These voices, and others, have kept millions of people spellbound for many decades including me. When I was 17 I really wanted to go to Fasching jazz club in Stockholm to listen to Nils Landgren and his Funk Unit Henrik Janson, Lars DK Danielsson and Per Lindvall were in the band at the time (Jesper Nordenström also became part of the Funk Unit a few years later). I was excited because these were the very best musicians I knew about. But to my disappointment it turned out I was too young, and the door-man said he couldn’t let me in. I started crying, and he felt so bad for me that he did let me in, on the condition that I promised not to drink. During the show, I remember saying to myself; “Imagine if I could play with these guys some day”... And now I do! There are no words to describe the joy and privilege that it is for me to have these fellas on my CD. They have an outstanding sound, and they are such great craftsmen at what they do that it sounds fantastic on the first take every time! We spent 3 days together at the legendary Atlantis Studio and let me just say it was a smooth ride. Not only did the band deliver some great live tracks, Magnus Lindgren also showed up with some fantastic horn arrangements. To see this genius at work is such a treat. He is by far one of the most inspiring musicians I know. His mind and his playfulness with music are one-of-a-kind. Together we “cooked” an album for you: “My Soul Kitchen”. Just put a casserole on, invite some friends over, and let soul music be the soundtrack for your evening. You will have a great time I’ll guarantee ya! ~ Ida Sand, May 2018

Personnel:
Ida Sand: vocals, piano
Stockholm Underground:
Jesper Nordenström: Hammond organ, keys
Henrik Janson: electric guitar
Lars DK Danielsson: electric bass
Per Lindvall: drums, percussion
Magnus Lindgren: saxophone, flutes

Guests:
Ola Gustafsson: electric, acoustic guitar
Paris Renita: background vocals
André de Lang: background vocals
André Dahlbäck: background vocals (11)
Nils Landgren: trombone, vocals (10)

My Soul Kitchen

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Peter Asplund - Satch as such

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 73:10
Size: 168,6 MB
Art: Front

( 1:58)  1. Satch As Such
(10:20)  2. West end blues
( 7:13)  3. I'm confessin' (that I love you)
( 8:48)  4. Do you know what it means to miss New Orleans?
( 8:41)  5. I can't give you anything but love
( 4:40)  6. Ain't misbehavin
( 9:37)  7. I cover the waterfront
( 7:19)  8. When it's sleepy time down south
( 7:29)  9. Hello Dolly
( 6:58) 10. What a wonderful world

Satch as Such is a music album from 2000 with Peter Asplund and his orchestra. The album is a tribute to the 100-year-old Louis Armstrong with Armstrong's most famous songs modernly newly arranged for big band and trumpet soloist. The events are written by Mikael Råberg , Helge Albin , Bo Sylvén , Göran Strandberg , Staffan Odenhall , Magnus Lindgren and Magnus Blom. https://sv.wikipedia.org/wiki/Satch_as_Such

Personnel: Peter Asplund,Hans Dyvik,Patrik Skogh, Anders Gustafsson and Fredrik Oscarsson - trumpet;  Mikael Råberg , Dicken Hedrenius , Karin Hammar and Mattis Cederberg - trombone;  Johan Hörlen, Magnus Blom, Per "Texas" Johansson , Karl-Martin Almqvist , Magnus Lindgren and Alberto Pinton - saxophones;  Jacob Karlzon - piano;  Hans Andersson - bass;  Johan Löfcrantz Ramsay - drums;  Rigmor Gustafsson and Magnum Coltrane Price - song

Satch as such

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Magnus Lindgren - Souls

Styles: Flute Jazz

Year: 2013

File: MP3@320K/s

Time: 44:51

Size: 103,6 MB

Art: Front

(3:06)  1. Souls

(3:42)  2. Change All The Time

(4:29)  3. Creepin'

(3:42)  4. Rainy Day

(4:26)  5. Dreaming In New York

(4:00)  6. Barcelona

(4:15)  7. Small Stuff

(3:07)  8. Broken Heart

(4:17)  9. On A Sunday

(4:45) 10. Walk This Earth

(4:56) 11. Wrapped Around Your Finger

The Sweden Magnus Lindgren, saxophonist, flutist, clarinetist, composer and musical traveler will have his new album "Souls" out Nave: The recording took place in New York in collaboration with the voices of Gregory Porter, Ivan Lins and beautiful young Swedish jazz star Anna Christoffersson, among others. It highlights the talent of this artist / composer admired, among others, by Quincy Jones.

Personnel:  Magnus Lindgren - tenor sax, flute, alto flute, clarinet, bass clarinet, Rhodes, Wulitzer, vocals;  Leonardo Amuedo – guitars;  Ira Coleman – bass;  Rhani Krija – percussion;  Gregory Porter - vocals on track 1, 7, 8;  Rigmor Gustafsson - vocals on track 5;  Anna Christoffersson - vocals on tracks 1, 2, 4, 7, 8;  Marie Fredriksson - vocals on track 9;  Mark Reilly - vocals on track 4;  Ivan Lins - vocals on track 10

Souls

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Magnus Lindgren - Batucada Jazz

Styles: Flute Jazz
Year: 2009
File: MP3@320K/s
Time: 62:28
Size: 148,6 MB
Art: Front

(6:51)  1. Alligator
(5:45)  2. Elbow Style
(4:18)  3. Rio Shadow
(4:08)  4. Copaflat
(6:25)  5. Soofa
(3:29)  6. Farofa
(6:19)  7. Flutish
(4:38)  8. Dalodrum
(3:37)  9. Djungeldance
(6:32) 10. Batacuda Jazz
(3:27) 11. Never Let Go
(6:55) 12. No More Words

Magnus Lindgren is a young Swedish jazz sax and flute player, arranger, composer and bandleader who is rapidly becoming a top name in Europe working with many of the most famous jazz artists. This album which features all original songs composed and arranged by Magnus was recorded in Rio de Janeiro, Brazil and features several outstanding Brazilian and European musicians. The result is a remarkable album with very strong influences of Brazilian music and rhythms but also with a definite jazz quality throughout. ~ Editorial Reviews https://www.amazon.com/Batucada-Jazz-Magnus-Lindgren/dp/B00280NYN0

Personnel: Magnus Lindgren (vocals, guitar, flute, clarinet, reeds, tenor saxophone, percussion); Pirulito, Armando Marçal (vocals, percussion); Leonardo Amuedo (guitar); Kiko Continentino (piano); Magnus Persson (drums); Sebastian Notini, Robert Ikiz (percussion)

Batucada Jazz

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Magnus Lindgren - Stockholm Underground

Bitrate: MP3@320K/s
Time: 52:03
Size: 119.2 MB
Styles: Flute jazz
Year: 2017
Art: Front

[5:59] 1. Fluting
[3:38] 2. Penny Blue
[3:53] 3. Chain Of Fools
[5:31] 4. Winter Wisdom
[5:03] 5. A Whiter Shade Of Pale
[3:08] 6. Good Stuff
[4:08] 7. Message From Kaknas
[3:08] 8. Theme For Laura
[4:41] 9. Brutal Truth
[3:54] 10. Mr. Mann
[4:27] 11. Superboogie
[4:26] 12. Stockholm Underground

Magnus Lindgren / flute; Daniel Karlsson / fender rhodes; Henrik Janson / guitar; Lars DK Danielsson / electric bass; Per Lindvall / drums; Eric Bibb / guitar & vocals; Till Brönner / trumpet; Nils Landgren / trombone; Ida Sand / vocals. Recorded by Pelle Gunnerferfeldt at Ingrid Studios, Stockholm, March 8 – 10, 2017.

A re-connection with a musical icon or tradition – it is often the way something new, maybe even game-changing emerges. That was the idea in curator/ producer’s Siggi Loch’s mind when he suggested to Magnus Lindgren that he might look at re-tracing the footsteps of Herbie Mann. “Stockholm Underground” is a homage to the one of the greats of the jazz flute, and to his legendary 1969 album “Memphis Underground”, listed by Rolling Stone in 2013 in the “100 Best Jazz Albums” of all time.The key figure in this project is evidently Magnus Lindgren, a stalwart of the Stockholm jazz scene, and known in the role he has had for many years, as a member of the Nils Landgren Funk Unit. Lindgren is not just a hugely gifted saxophonist, he is also probably the best jazz flautist in Europe. And he is offering this aspect of his artistry for the first time.

Stockholm Underground

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Barbara Hendricks, Magnus Lindgren Quartet - Barbara Sings The Blues

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Vocal
Year: 2008
Art: Front

[5:23] 1. Lady Sings The Blues
[4:42] 2. Tell Me More And More (And Then Some)
[4:16] 3. Trouble In Mind
[4:16] 4. Don’t Explain
[4:01] 5. My Man
[3:26] 6. You’ve Been A Good Old Wagon
[5:48] 7. God Bless The Child
[4:29] 8. What A Little Moonlight Can Do
[4:48] 9. Billie's Blues-I Love My Man
[4:33] 10. Mood Indigo
[4:46] 11. Downhearted Blues
[2:44] 12. Allhelgonablues
[2:25] 13. Strange Fruit

African-American-Swedish soprano Barbara Hendricks formed her own label, Arte Verum, in the mid-2000s and has since been pursuing an impressive variety of adventurous projects. The spirit she has shown is exactly the ticket for classical music as it faces challenging times: the solution to its problems lies not in making the music more, or less, user-friendly, but in promoting musical enterprises that are personal, committed, and challenging to the artist involved in terms of pushing her or him into contact with new audiences. The last of these sounds like "crossover," but Hendricks insists that this is not a crossover release and has unkind things to say about the genre in the handsomely produced booklet (in English and French). It is instead, she says, a jazz release. That is somewhat contradicted elsewhere; although Hendricks' early training was in the African-American religious tradition, she sang little jazz during her early years and turned to it only in the 1990s. She says she approaches jazz as a "curious student...still learning so much." The bottom line is that this is a jazz album very much in the crossover vein attempted by other classical singers and it is an excellent example of the genre. The title Barbara Sings the Blues indicates not a special orientation toward blues material (indeed most of the pieces are not blues), but a program conceived as a tribute to Billie Holiday, from whose repertoire most of the music is taken. Hendricks is not Billie Holiday, but she does an extremely artful job of suggesting some of Holiday's vocal trademarks in a subtle way, and, as saxophonist Magnus Lindgren points out, she has a range greater than what most jazz vocalists can manage. The results range from intriguing to spectacular. Hendricks doesn't have the rhythmic control of a top-rank jazz singer, but her voice has entered a particularly rainbow-like phase in her middle age, and Lindgren's quartet adopts a particularly self-effacing stance in order to highlight it. And Hendricks adds something of her own to a few of the high points of Holiday's repertoire. The best comes last, and you could sample it or save it for hearing in its proper place: "Strange Fruit," with which Holiday ended her own shows, has a tragic operatic intensity here. It would be worth the purchase price even if nothing else on the album was, which is far from the case. ~James Manheim

Barbara Sings The Blues

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