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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t jan johansson
a l b u m live in tallinn
l a b e l heptagon
g e n r e jazz
r i p d a t e 10.13.2002
s t r e e t d a t e 1994
o r i g i n a l r e l 1966
s u p p l i e r lucilie
s o u r c e cd
b i t r a t e 192 kbps
e n c o d e r lame 3.92
r e l e a s e n o t e s
Although not well known in the U.S., Jan Johansson was among Sweden's
top jazz pianists of the 1950s and 1960s and commanded tremendous
respect in Scandinavian jazz circles. Johansson (who also played
guitar, organ and accordion) was born and raised in Soderhamn in
Sweden's Halsingland province, where he studied classical piano as a
child before becoming interested in swing and bebop as a teenager. As
a high school student in the late 1940s, he played locally with
various Soderhamn swing and dance bands, including Gerhard's
Orchestra, the Five Swingers and the sextet of the Benny
Goodman-influenced clarinetist Gunnar Hammarlund. After serving in
the military, he moved to Goteborg (Sweden's second-largest city) in
the early 1950s and went on to be employed as a sideman on sessions
by big band leader Kenneth Fagerlund in 1954-55 and bassist Gunnar
Johnson in the mid to late 1950s. Johansson's first sessions as a
leader came in 1956, although he continued to be a member of
Johnson's quintet until its breakup in 1959. It was also during the
1950s that Johansson came to the attention of Stan Getz, who spent a
lot of time in Scandinavia and went on a six-week tour with Johnson's
quintet in 1958. Getz loved the melodic nature of Johansson's
playing, and the two had a strong rapport when playing or recording
together in the late 1950s and early 1960s. Other Americans that
Johansson shared the stage with ranged from bassist Oscar Pettiford
to singer Helen Merrill, whom he backed during a two-week engagement
at Copenhagen's Cafe Montmartre in 1960. Johansson was quite prolific
in the 1960s, when he continued to play bop but also explored the
possibilities of modal post-bop, third stream and avant-garde jazz.
In 1962, the pianist recorded his most famous album, Jazz pa Svenska.
Translating to Jazz in Swedish, the album underscored Johansson's
love of traditional Swedish folk and (according to writer Erik
Kjellberg) has sold more than 200,000 units over the years. In fact,
one of the things Johansson became known for was his ability to
provide jazz interpretations of Swedish folk songs. Tragically,
Johansson's career came to an end on November 9, 1968, when he was
killed in a car crash on a Swedish expressway. On December 16, 1968,
a memorial concert was held at Stockholm's Concert Hall. Interest in
Johansson's work remained long after his death. Heptagon (a label
that his sons Anders and Jens founded in 1994) has reissued much of
the pianist's work on CD, and in 1998, Kjellberg's Johansson
biography, Jan Johansson: A Visionary Swedish Musician, was published
in both English and Swedish.
This is a recording made by the estonian radio in june 1966.
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
new rumba 08:11
visa frσn utanmyra + gσnglek frσn ─lvdalen 08:31
blues for lange 05:38
sommar adj÷ 02:57
emigrantvisa 02:56
laverne walk 05:42
svallvσgor 06:34
samba triste 05:15
45:44
MB 62,9
g r o u p n e w s
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s p e c i a l g r e e t s g o e s o u t t o : SChiZO
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
c FuFFENS 2 0 0 2