![\"Lundgren](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/08\/Lundgren-Strings.jpg\")
<\/a><\/p>\nFor the Johansson tribute concert at the Ystad Sweden Jazz Festival, a string quartet joined Lundgren (pictured above) and his frequent bassist Mattias Svensson in a program of pieces from Johansson\u00e2\u20ac\u2122s pioneering album Jazz p\u00c3\u00a5 Svenska (Jazz in Swedish)<\/em>. They also played a handful of works from his follow-up collections based on Russian and Hungarian melodies. The arrangements by Martin Berggren reflected Johansson\u00e2\u20ac\u2122s closeness to the traditional music of his native land while also providing space for the inventiveness of Lundgren, Svensson and the Lundgren\u00e2\u20ac\u2122s pianism in the ensembles and his solos confirmed the notion among musicians, critics and listeners that he is a modern-day equivalent of Johansson and of Sweden\u00e2\u20ac\u2122s other avatar of modern jazz piano, Bengt Hallberg, who died in 2013. In two of the Swedish pieces, \u00e2\u20ac\u0153Polska efter H\u00c3\u00b6\u00c3\u00b6k-Olle\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Berg-Kirsti\u00e2\u20ac\u2122s Polsha,\u00e2\u20ac\u009d and later in one of Johansson\u00e2\u20ac\u2122s Russian folk music The salute to Jan Johansson by Lundgren no doubt satisfied the national spirit of their listeners. According to the festival management, the audience was 80 percent Swedish. But it would have been difficult for non-Swedes as well not to be moved by the musicianship and feeling of Lundgren and friends.<\/p>\n","protected":false},"excerpt":{"rendered":" [contextly_auto_sidebar id=”NLBhlmYYcKV0V5Iy62j1dZmXp0mixB6e”] With a catch in his throat, Jan Lundgren told his capacity audience in the Ystad Theatre, \u00e2\u20ac\u0153This is something I\u00e2\u20ac\u2122ve been planning for 25 years.\u00e2\u20ac\u009d Lundgren was paying tribute to pianist Jan Johansson, a major figure in the development of modern jazz in Sweden and one of the reasons Lundgren decided in his […]<\/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-6822","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\/6822","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=6822"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6822\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6822"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6822"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6822"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a>strings. In the Hungarian segment, first violinist Claudia Bonfiglioli played an electrifying solo on “Det vore synd att d\u00c3\u00b6 \u00c3\u00a4n,” displaying a skill for improvisation unusual among classical musicians. Her sister Daniela—playing second violin—violist Karolina Weber-Ekdahl, and cellist Charlotta Weber-Widerstr\u00c3\u00b6m happily contributed to the ensemble swing. Weber-Widerstr\u00c3\u00b6m\u00e2\u20ac\u2122s rich tone was a vital component of the music. <\/p>\n<\/a> adaptations, Lundgren and Svensson exercised their customary single-mindedness and interaction as a duo. Maybe the secret<\/a> is that they listen so closely to one another, but they anticipate note choices and phrasing so consistently that it\u00e2\u20ac\u2122s hard to dismiss the thought that extrasensory perception has something to do with it. <\/p>\n