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International Report
Edited by Evan Newman - international@jambands.com

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The Funkiest Jam in Europe

by Nils Hallberg - Linkoping, Sweden

In the 50's and the 60's, jazz music experienced a golden era in Europe. Cities like Paris, Amsterdam, Copenhagen and Stockholm attracted artists from all over the world and jazz as an art form begun to take a slightly different direction here compared to the jazz played in the U.S.A.

In 1956, in the middle of this period of musical change - from traditional music, via jazz, towards rock 'n roll - Nils Landgren was born in a small town in the mid-west of Sweden. His father was a jazz cornetist and his grandfather a pastor, performing "church music". Growing up in a highly musical environment of course influenced Nils in his choice of career. At the age of six he started playing drums, and at thirteen he begun playing the instrument he still is playing at this very day - the trombone. He went to Music College in 1972 and to Music University in 1974, graduating four years later.

As almost every talented musician in Sweden, he moved to Stockholm, the capital city. Here he played with various rock and jazz-bands, worked with pit bands in theaters throughout Stockholm and worked as a recording session musician. (Over the years, Nils has recorded and performed with such Swedish and international artists as Rolf Eriksson, Bobo Stensson, Palle Danielsson, ABBA, Kenny Wheeler, The Crusaders, Joe Sample, Marcus Miller, Brenda Russel, Randy Crawford, Michael Ruff, Warne Marsh, George Russell, Gil Evans, David Murray, Herbie Hancock, and Thad Jones.)

In 1981, he joined Thad Jones' new big band in Milan, Italy as lead trombone player. He continued to play with Mr. Jones in various settings for two years, touring all over Europe. At this point, in 1983, Nils was ready for new challenges, and he formed his first band, playing in the field of jazz-rock. In 1984 the album "Planet Rock" was released. It was followed up by two more albums.

Between 1985 and 1987, Nils co-starred in a play (doing some 360 performances) as an actor, singer, dancer and trombone player. In 1987 he joined forces with one of Sweden's foremost contemporary composers and arrangers, Mr. Bengt-Arne Wallin, releasing his fourth album entitled "Miles from Duke".

From having been a talented, but yet somehow unknown artist, things took a different turn in 1992, when Nils formed his first "Unit". In collaboration with the legendary producer and sound engineer Bruce Swedien, the album "Red Horn" was released that year. (Nils plays a specially designed red trombone, and he's therefore called "Mr. Red Horn".) With this album, Nils set out the course for the years to come - especially for the band as a live act: Steaming funk-jazz with marvelous jams and a groove so hard it knocks you off your feet!

The album was followed up by extensive touring, and I must say they rocked hard on stage! The word spread fast and pretty soon they'd sell out every venue they played. The live-album "Nils Landgren Unit Live in Stockholm" (featuring Maceo Parker - James Brown's former bandleader), was released in 1994, and it very well captures the escapades of those years. This album became an international success.

Later on, the "Nils Landgren Unit" turned into the "Nils Landgren Funk Unit", a more suitable name for the direction the band was evolving in.

The quite obvious Miles Davis and John Coltrane influences the band used to have now were more mixed up with raw P-funk, rock, hip-hop (and even Swedish traditional "folk music"). The jazz-funk sound turned more into a rock-funk sound with cracked up Fender Rhodes, heavy bass-lines, screaming guitars, rap and an overall furious groove.

In 1995 a project called "Gotland" (named after an island east of the Swedish coast) was released, featuring Polish trumpet player Tomasz Stanko and church organist Anders Eljas. The album was recorded in a church. During 1996, Nils participated in the WDR Big Band project "Soul to Jazz", along with Bernard Purdie and Eddie Harris.

In 1996, the second NLFU album called "Paint it Blue" was released. This album, which is a tribute to Cannonball Adderley, features guest appearances by Michael and Randy Brecker, Airto Moreira and Bernard Purdie, and it was awarded the German Jazz Award.

In early 1998, Nils released an album recorded along with Swedish jazz-piano player Esbjorn Svensson entitled "Swedish Folk Modern", and the two of them made a German tour. Later on same year, Nils was invited to play during the "Polar Prize" award (a price founded by the "ABBA producer" Stickan Andersson), honoring Ray Charles (who received the price for outstanding performances within the field of jazz and "modern" music.).

At the "ACT World Jazz Night" during the 32nd Montreux Jazz Festival, Nils Landgren made a totally ass-kicking performance with his NLFU (After the show, Claude Nobs stated "There was ABSOLUTE FUNK in the house tonight"). Later on, the album "Live in Montreux" was released. It is a frozen moment of magic, capturing one of the world's best funk groups live in action.

NLFU should, as all bands within the realms of "jambands", preferably be experienced live on stage. It's in this context they really bloom. The interaction between the band-members is extraordinary, and the jams are awesome.

If you're lucky at a show, you'll see Nils do his "one man trombone thing". The rest of the band leaves the stage and Nils is left alone, usually with one single (no colored) spot as the only lighting. He starts out playing an old traditional Swedish folk tune, though in a very special way. While playing he starts taking his trombone apart, piece by piece, incorporating the sound of each part "falling off" into the solo. In the end he stands there, making "trombone sounds" with his bare lips! Then he gradually puts the Red Horn together again, the band fills in and the funk blasts away again. It's a stunning act to say the least!

NLFU sounds very much like Deep Banana Blackout, though for us who have followed Nils Landgren over the years, it's obvious that it's the other way around! DBB sounds a lot like NLFU! The biggest difference is that the guys in NLFU have been professional musicians since most of the members in DBB were in diapers! The personal experience is massive here!

The ability to blend in a wide variety of different influences into the funk is what makes NLFU stand out from most other "ordinary" funk bands. The vibes of Swedish traditional folk and that special European jazz of the 50's and 60's really put an original twist to it. Still it's not what funk purists would call a total sell-out. The funk is thick and deep, and if you can hesitate from dancing when you hear it, you should go see a doctor - immediately!

If you haven't got the opportunity to check NLFU out live, but still are interested in finding out what it's all about, I suggest you start with these albums:

1. Nils Landgren Funk Unit - "Live in Stockholm" (feat. Maceo Parker) (ACT 9223-2)
2. Nils Landgren Funk Unit - "Live in Montreux" (ACT 9265-2)
3. Nils Landgren Funk Unit - "Paint it Blue - A Tribute to Cannonball Adderley" (ACT 9243-2)

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Steel Toe Sandal Shows Their Diversity on Debut Album

Makin' Him Happy, the debut disc from Thornhill hipsters Steel Toe Sandals is a culmination of three years of constant performing all across Ontario. A five piece outfit that formed out of an enjoyment for improvisation in 1995, STS has have been one of the hardest working bands in Southern Ontario. They have played numerous gigs, including prestigious venues such as The Horeshoe Tavern and The Comfort Zone. Their hard work and dedication to their music has culminated with the release of Makin' Him Happy.

Makin' Him Happy consists of seven scorching tracks, each exemplifying a very unique sound. From roots rock to free form jazz, STS exhibits their incredible talent and diversity along with an internal chemistry that seems almost paranormal. The strongest track is Farmer James which clocks in at an impressive 9 minutes. The jam is strong and is the best indication as to what STS is all about in their live performance. All five members are involved in the songwriting which makes for a very eclectic and intriguing album. "We all come from very different musical backgrounds but we've been able to find common ground with the music we make together," says guitarist Zack Salsberg. The band has a great sense of humour which can be heard in most songs. On the album, they've managed to mix humorous lyrics with intense jamming which seems to becoming a subtle trademark of most current jambands. STS does everything well. This album is good but as with most jam bands their schtick is on stage, in front of people. "We love it when our fans let loose, dance and have a good time," says keyboardist Ely Weisfeld. "We feed off it, our connection with our audience is just incredible". The band has shared the stage with many top local acts like The Fat Cats and Zygote as well as, noted American acts freebeerandchicken and The Ominous Seapods.

Although relatively young (band members range from early to mid-twenties) STS seems well on their way to magical things. Within a short time, STS may join such super acts like The Burt Neilsen Band and The New Deal as Canadian Jam Band icons.

Track List:

1. Bliser (6:50)
2. Monkey Bars (4:38)
3. Farmer james (9:11)
4. Montuno (2:36)
5. Funked Up (4:59)
6. Patient (7:13)
7. Acid Jazz (4:08)

For more info contact: webofroses@hotmail.com

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The Flower Kings
CRS (Classic Rock Society) - Rotherham, UK, 17th April 1999

by Ian Oakley

CRS Homepage http://www.birwood.demon.co.uk/crs.htm

Set List:

There Is More To This World, Retropolis, World Of Adventures, Church Of Your Heart, Garden Of Dreams Part 1 (Pt 1-10), Church Of Your Heart - JAM: inc The man who walked with kings / Circus Brimstone/ Big Puzzle/, In The Eyes Of The World, JAM, Garden of dreams Part2 (Pt 16-18)

Encore: JAM Sounds of violence (Bass solo by Jonas Reingold *), The Flower King, Stardust We Are (pt3).

* Jonas Reingold Replaced Michael Stolt on bass for this European Tour.

Total set time 2 .5 hours

I have been a fan of and involved in this type of music, progressive rock, since the early 70s. There are literally hundreds of bands out there at the moment resurrecting this type of quintessentially white European 1970s LP music. Now a large underground scene has arisen, linked together by the internet and driven by existence of the technology to cheaply produce, distribute and publicize "home recorded" CDs.

However, when it comes to quality and originality I feel that there are only two bands in this scene that can call them selves truly world class Spock's Beard and The Flower Kings. These also seem to be the only bands that are pushing the envelope of "prog rock" in a way that is in any sense really "progressive." Spock's Beard do it by bringing back beautiful sing-along melodies and superb musicianship without trying to be techno-flash; The Flower Kings do it by also using beautiful melodies but adding a jazz-rock fusion / improvisational edge to the performance. As a friend said: "The Flower Kings are Prog Rock with added Zappa."

This concert was the first time the band had played the UK since May 1997 and was held in the same location as before, The Herringthorpe Leisure Centre in Rotherham. As last time, this was their only U.K concert. They were brought over by the CRS, to whom I will be eternally grateful for providing the only regular venue for this music in the UK.

The hall itself is usually a gym and so is quite small and acoustically poor. Being the only UK date, the audience had traveled from all parts of the UK for the occasion (my friends and I did a 400 mile round trip). However, I was initially disappointed to find that there were only about 170 people in the audience. In addition to this we also seemed to be representative of the average age of the audience (late 30s to early 40s). Is this the real state of this genre of music? In this country probably so.

After an introduction from the man from CRS "This band are as good as Yes or Genesis at their peak" (I could not agree more), The Flower Kings took the stage at 9:30 exactly. They began gently, then blasted their way into the gig with "There is more to this world" followed by a very inspiring "Retropolis," which just carried me away to that lovely state where you feel your whole mind and soul is riding on the back of each guitar note and it carried on that way. There were a few technical difficulties with keyboards / feedback and tuning along the way, but none that spoiled the gig. I understand that this was mainly due to the disparity between the Swedish plugs and the UK electricity supply.

The gig lasted a total of two and a half wonderful hours with The FK giving us at least two tracks from each of their many CDs, including, I think for the first time live, almost the whole of Garden of Dreams.

For people that only know the CDs, the FK live sound is a lot looser, with jams on and between numbers, and a lot heavier feel than indicated by the CDs. All the musicians are individually world class and complement each other perfectly. In particular I noticed how the voice and guitar work of Hasse Froberg worked well with those of Roine Stolt, with Hasse taking more of the lead vocals and having the stronger, purer voice of the two, and Roine using his more gravelly voice to add emphasis to certain lines and phrases.

The only complaint I would have was that the house PA and the mix were not up to the high standard and quality of the playing. By the end of the concert the mix and volume had reached that "wall of sound" state where all the instruments appeared to be at an equal volume whereas, as is the case with the CDs, Stolt's guitar should be the main leading presence. That is what the audience came for, after all. OK, the PA system its self was not very good, but I would have appreciated less overall volume and more thought given to the mix. With the total volume set so high there was nowhere left to go to bring the guitar to the forefront. However, as the gig was done on a shoestring budget it is understandable the FK could not afford to bring their own sound engineer over who would have no doubt have provided a more sympathetic mix.

I am very loath to complain at all, as the whole gig seemed to have been done on a very tight budget. 170 people at £10 a time is at most £1700, to bring the band from Sweden, hire the hall, the PA, the lights indeed one member of the audience had actually lent his mellotron to the band. Surely the CRS didn't do it just on the money from ticket sales? Whatever, I'm just so appreciative that they managed to bring the band over at all. I look forward to seeing Spock's Beard on 1st October at the CRS's annual prog-fest.