Johan Lindström is on Faschings scene the same night as he is nominated in the category ”Best jazz” at the Grammisgalan in another part of town. So may be a musician rather than a performer; while the latter take care of their brand makes the last of his craft, just like any other night at any time.
at Least Lindström give it the impression given that he was a major name among other musicians than among regular listeners. That is to say: many had probably heard his guitar and pedal steel without necessarily knowing who they heard.
Dan Berglunds wide popular jazz and progrockband Tonbruket. And so, he released his first own album – ”Music for empty halls”, which thus became one of last year's Swedish success.
The most obvious reason for the success seems to be that Lindström's taste in music goes home in a country where, perhaps, a disproportionate number of likes americana – its melancholy, promises, traditions, and cabinet making. But at Fasching he also shows how rare well he handles this series of related genres, with the jazz at one end.
It is part of a speltekniskt understatement, but with high demands on precision and nuance. The well-known band with, among others, saxophone players Per Texas Johansson and Jonas Kullhammar is on the fine print, at the same time as they are able give drive and impetus to the Lindström's compositions; qualities that also in itself relates to both jazz and rock, blues, country, bluegrass, surf, mature tivolimusik and other things.
when it takes nacksving, some (american) stereotypes while maintaining a seriousness in the performance as a whole can bring to mind the films of Aki Kaurismäki – yes, to anything Finnish rather than Swedish.
It would be well, in and of itself illogical, but can just as easily be inferred as to Lindström affirms its willfulness in a way that, in fact, feels equally locally and internationally. Or for that matter american.
Read more music reviews by John Cornell, for example, how Bokanté start in Guadeloupe, but get into half the world in his music.