{"id":5930,"date":"2014-08-07T09:00:19","date_gmt":"2014-08-07T16:00:19","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5930"},"modified":"2018-12-11T20:33:05","modified_gmt":"2018-12-12T04:33:05","slug":"the-korb-and-lundgren-concerts","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/08\/the-korb-and-lundgren-concerts\/","title":{"rendered":"Ystad Concerts: Korb And Lundgren"},"content":{"rendered":"

[contextly_auto_sidebar id=”QF10zeXky7T9KaO0gMfrpISBWXS5bB4p”]<\/p>\n

The American bassist and singer Kristin Korb has lived in Denmark the past two years. In her Per Helsas G\u00c3\u00a5rd concert, she included songs from her next album, Finding Home<\/a><\/em>, about the effects of the move and the peace she has found in her marriage and her adopted country.<\/p>\n

\"Korb<\/a><\/p>\n

A prot\u00c3\u00a9g\u00c3\u00a9 of the late Ray Brown, Ms. Korb\u00e2\u20ac\u2122s bass playing is the foundation of her musicianship. She is an increasingly clever lyricist in the songs she writes, arranges and sings. \u00e2\u20ac\u015358 Boxes\u00e2\u20ac\u009d was about \u00e2\u20ac\u0153missing my stuff\u00e2\u20ac\u009d during the weeks it was in transit from the US. She worked melodies from Miles Davis\u00e2\u20ac\u2122s \u00e2\u20ac\u0153All Blues\u00e2\u20ac\u009d and references to James Brown\u00e2\u20ac\u2122s \u00e2\u20ac\u0153I Feel Good\u00e2\u20ac\u009d into her introduction to Bob Dorough\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Better Than Anything.\u00e2\u20ac\u009d The lyric she set to \u00e2\u20ac\u0153Groove Merchant\u00e2\u20ac\u009d and her bass lines were perfect matches for the spirit and churchy harmonies of Jerome Richardson\u00e2\u20ac\u2122s classic piece. Pianist Magnus Hjorth, played several impressive solos in the set. The other member of Korb\u00e2\u20ac\u2122s trio, drummer Snorre Kirk, was buoyantly propulsive throughout.<\/p>\n

\"Lundgren:Maret\"<\/a>In the first of his two appearances, the Ystad Festival\u00e2\u20ac\u2122s artistic director Jan Lundgren and his trio hosted Gr\u00c3\u00a9goire Maret. The Swiss harmonica player is often mentioned as the new Toots Thielemans, the instrument\u00e2\u20ac\u2122s modern jazz pioneer. Lundgren alternated solo and trio pieces with those that featured Maret. Veterans Jesper Lundgaard, on bass, and drummer Alex Riel played together in the pianist\u00e2\u20ac\u2122s first trio. The rapport they established with him in the 1990s has, if anything, deepened. Their backing of Maret in \u00e2\u20ac\u0153Velas,\u00e2\u20ac\u009d Brazilian composer Ivan Lins\u00e2\u20ac\u2122 tribute to Thielemans, had a blend of rhythmic muscle and lyrical sensibility that matched Maret\u00e2\u20ac\u2122s interpretation. In \u00e2\u20ac\u0153The Man I Love,\u00e2\u20ac\u009d one of the pieces on Lundgren\u00e2\u20ac\u2122s forthcoming solo album, Maret played in response to Riel\u00e2\u20ac\u2122s drum figures. The two took the music beyond the edge of Gershwin\u00e2\u20ac\u2122s harmonies, which inspired further adventuring by the quartet as they went out in a long, leisurely tag ending based on one chord.<\/p>\n

In a Wall Street Journal<\/em> article today<\/a> about the festival and the state of jazz in Sweden, I cover Lundgren\u00e2\u20ac\u2122s other performance in Ystad. The Journal<\/em> is available at newsstands and, to WSJ<\/em> subscribers, online.<\/p>\n","protected":false},"excerpt":{"rendered":"

[contextly_auto_sidebar id=”QF10zeXky7T9KaO0gMfrpISBWXS5bB4p”] The American bassist and singer Kristin Korb has lived in Denmark the past two years. In her Per Helsas G\u00c3\u00a5rd concert, she included songs from her next album, Finding Home, about the effects of the move and the peace she has found in her marriage and her adopted country. A prot\u00c3\u00a9g\u00c3\u00a9 of the […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5930","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5930"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5930\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}