We would like to make a CD. Please help us by doing a reservation. The price will be 100 SEK and a recording date is not set yet.
Vi skulle vilja spela in en CD. Hjälp oss att boka en CD, priset är 100 kr. Osäkert i nuläget när det blir av, skulle gärna vilja få in ett antal beställningar först.
Here are some reviews. Här ligger några recensioner.
|David Edwards, Toronto, Canada, february 2016
Situation (where, when): Toronto, Canada, sitting in my den, listening to and thinking about Sweden in the depths of februari in my “vedmod”.
Whats best about it (liked): I heard it once said that the violin is instrument that imitates the human voice but without words. When I hear Herr Karlsson play, I think, no, that’s not really true, it very well could be the baritone sax! – you know, when you’re in that kind of mood. Some kind of Swedish vemodighet maybe. – ’Love that word – It’s like the Swedish counterpart to “The Blues”. I wish more people got this. Swedish Jazz isn’t widely enough known in the world to reach the place it deserves, but that’s another story. The Blues in past decades has been boiled down to a just 4-4 beat with variations on standard, and to tell you the truth, I got bored by now. But of course there’s a lot more to it than that, and so you explore unfamiliar territory of tones that aren’t just seeking popularity and get to the heart. You get that in Swedish Jazz more than anywhere else. But in any culture you get some real stand-outs, like Karlsson et.al. who follows in the tradition of “the Gullins” – Peter and his dad, Lars, if we’re talking about the same instrument. The barran takes a lot of wind, and guts and heart. It’s not a popular sound, but then vemodighet isn’t either but if you’re human, you get it. ‘Get’s me right here.
What could be improved (did not like): Could be fun with some more wild improv in Visa Från Utanmyra to give it some je ne sais quoi, that Jazz is after all. Like imagine something like a Coltrane riff hovering over the melody line if you can manage it. Maybe fake a more studio sound with a tiny bit of echo here and there (Am i making sense?) Like, it’s great, but feels like it needs to break out of the ponderous beat. (I know – it kind of needs to be slow, maybe not so slow, but give it a little more Yang to the Yin it has.)
|Roland Olofsson, 2016-01-03
Du har en fin ton i barran med Lars Gullin i bakhuvudet och tonbildning. Men lite rundare om jag vågar be. Jag har själv spelat “visan” i kvintett (bs, tr och komp).
Dock i en högre tonart. Du har en modern klang i barran, metallmunstycke?
Jag är ju en gammal stöt och föredrar en rundare ton. Men Du lirar fint.Min förebild är Gunnar Bergsten som i sin tur hade Lasse Gullin. Men det tyckte han inte om att man sade, eller antydde.Du har ett modernt sound i luren och det kan Du vara helt nöjd med.
Create a review in swedish or english if you have heard the band live or on record and it may be published above.
Skapa en recension här så lägger vi den på hemsidan kanske.
First a clip with Peter Gullin Trio. He was a son of the more famous Lars Gullin. This clip is from TV recording from Umeå. Peter Gullin, baritone saxophone, Jacob Fischer, guitar and Ole Rassmussen, bass.
Next a clip with Sweet Jazz Trio. Soft and cool music. It is Lasse Törnqvist, cornett, Mats Larsson guitar and Hans Backenroth, bas. Mats Larsson was my teacher at Kulturama a long time ago.
This is Calle Stenman Trio. It is Calle Stenman, trumpet, Erik Fabricius, guitar and Oliver Belvelin, bass. I have played with Oliver, a real pleasure.
Toots Thieleman with Joe Pass and Nils Henning Örsted Pedersen
Chet Baker trio with Niels-Henning Ørsted Pedersen bass and Doug Raney guitar
Here some other trio I dont know much about.