Swedish jazz artists Jan Lundgren (left) and Nils Landgren released a new duo album, Kristallen, on January 10, 2020. (Photos by Steven Haberland) The word word “kristallen” means translucence and clarity, but it also refers to refractions that occur when changing light reveals minute color variations. The duets between Swedish trombonist-vocalist Nils Landgren and pianist Jan Lundgren on their current
Kristallen album (on the German ACT label) manage to check the many definitional boxes. These are relaxed but close musical exchanges that seem to unfold in the most natural ways possible. It doesn’t take much listening to discern that these are two masters who express themselves in the most direct way possible, never playing a note that doesn’t absolutely need to be sounded.
When told that the music on
Kristallen is pretty, Lundgren is gratified. That’s not to be taken for granted; plenty of modernists sneer at the word in connection with their music of choice. “Thank you!” the pianist exults, from his home in Sweden. “We’re both lovers of good, strong melodies and we want to touch people with our music. I think that pretty quality, as you call it, shines through very well on Nils’s compositions; they’re very melodic.”

The 53-year-old Lundgren and the 64-year-old Landgren had casually known each other for about a decade when they worked together on Landgren and Janis Siegel’s Leonard Bernstein tribute album,
Some Other Time (ACT 2016). “It went so well,” Lundgren says, “that we said we have to do a project together. The kristallen album went so well that we’ve booked a little concert tour. Last night was the first concert, and it was just like we’d been playing night-after-night for a long time. The communication was almost instantaneous.”
He began piano lessons at five, and Lundgren was immersed in classical training when he heard his first jazz recording at age 15. “It was the Oscar Peterson Trio playing ‘Night Train,’” Lundgren remembers. “I loved everything about it—the rhythm, the sound of the trio, and most of all the playing. When I learned that they were improvising, I couldn’t believe it. I thought, ‘How can this be?’ Improvisation was a big mysterium to me. And that day changed my life forever.”
The Peterson epiphany set him in search of records by Earl Hines, Art Tatum, Bud Powell, Red Garland, Wynton Kelly, and the whole of the jazz piano tradition. “I thought the folk-influenced pop music was too simple,” Lundgren points out. “Jazz met my expectation for high art.”

He was a serious young man, with little interest in the popular music of the day. “We have our Swedish folk songs,” Lundgren clarifies, “and they’re the basis for so much of our music. But they were too simple for my taste. Jazz met my expectation for high art.”
As a young player, he worked with some of the Swedish jazz legends like alto saxophonist and clarinetist Arne Domnerus. “He was one of the big players,” Lundgren says, “along with pianists Jan Johnasson and Bengt Hallberg.” Lundberg was recently awarded a coveted national music prize, the Ellen and Sven Asmussen Award, named for the relentlessly swinging jazz violin legend and his wife. “That means a lot to me,” Lundgren notes, “because Sven was one of the great ones.”
The pianist isn’t shy about accolades for his collaborator. “Nils is the complete musician,” Lundgren declares. “As a trombonist, composer, arranger, and a fine singer with an unbelievable ear. I’m a great fan of his trombone sound, and I think he’s one of the greatest in Europe. Nils has a very strong personality, and you can always count on him for something creative. He’s extraordinary.”
“We’re both lovers of good, strong melodies and we want to touch people with our music."
Landgren turns in a number of vocal performances here. He’s another in the long line of jazz instrumentalist singers, and his unforced, almost confessional way with a song somewhat recalls trumpeter Chet Baker’s ease with a lyric. Landgren’s low-dynamic voice is soft-edged, and his sound is pithy yet somewhat dry. But it’s his phrasing and spot-on intonation that form his vocal calling card. Landgren sings much as he plays—lyrical and warm, with an occasional octave glissando at the end of a phrase.
https://www.youtube.com/watch?v=jDCDlP-TXRY
Those vocals can be tinted with a light-touch of regret on Jimmy Webb’s “Didn’t We,” or they can playfully jump from one note to another, for Lundgren’s “Lovers Parade.” The ballads—which include Lennon & McCartney’s “I Will,” Hoagy Carmichael’s “The Nearness of You” and Lundgren & Landgren’s “Why Did You Let Me Go,” conjure nighttime intimacy, implying subdued light and wine glow. “The minor keys of the folk melodies tap into our shared national culture.”
Lest you think that the Lundgren-Landregren exchanges are all about Frozen North austerity, hear the swinging way that the piano and trombone romp through Lennon & McCartney’s “Norwegian Wood”; it’s almost a reduction of the roaring Bill Holman arrangement of the tune, canonized by the Buddy Rich Big Band. The there’s Landgren’s blues-tinged trombone work on the Landgren & Lundgren arrangement of the traditional Swedish folk melody “Värmlandsvisan.”
Reminded of trumpeter Art Farmer’s
To Sweden With Love album (Atlantic, 1964), jazz interpretations of Swedish folk songs, Lundgren is excitedly affirmative. “It makes me happy that you know that music. I think it’s a great, classic album. Music is universal, and a great musician like Art Farmer can take any kind of music and make it his own. That’s what we’re trying to do as well.”