I Will Wait For You Rigmor Gustafsson & Nils Landgren

• 1 Empty Hearts 03:59
• 2 Is It A Crime 04:12
• 3 If You Go Away (Ne me quitte pas) 04:50
• 4 Makin' Whoopee 04:01
• 5 Fire And Rain 04:02
• 6 It Never Entered My Mind 05:47
• 7 Fever 03:49
• 8 The Moon's A Harsh Mistress 04:36
• 9 I Will Wait For You 04:22
• 10 It's Been So Long 04:43
• 11 Black Coffee 05:23
• 12 The More I See 05:07
• Total Runtime 54:51

Info for I Will Wait For You

With the plethora of female vocalists emerging to interpret and reinterpret the Great American Songbook, it is interesting to note that some of the more innovative and unique female vocalists are coming out of Scandinavia. Susanne Abbuehl pursues her own muse, putting the words of poet e.e. cummings to music, or writing sparse poetry to the music of Carla Bley; Sidsel Endresen works within the nujazz movement, often pairing with electronica guru Bugge Wesseltoft; and now Swedish singer Rigmor Gustafsson who, with a programme that is more rooted in standards than the others, is nevertheless equally unaffected and honest. I Will Wait For You is her first recording for a major label, and finds her produced by and paired with Swedish trombonist/vocalist Nils Landgren, who continues to make a name for himself by reinventing what his instrument is capable of. Clean, economical and spare, the base instrumentation revolves around the piano trio, with occasional strings added by The Fleshquartet, and horns by Landgren and trumpet player Staffan Svensson. Pianist Roberto Di Gioia is a solid accompanist, always supporting and never getting in the way; bassist Lars Danielsson has a remarkable sense of groove and works hand-in-glove with drummer Wolfgang Haffner.

One look at the programme and the first thing that comes to mind is that this is a shtick recording, but that is the furthest thing from the truth. 'Makin’ Whoopee' is reinvented as a light funk tune, with Danielsson’s supple bass and Haffner’s brushwork propelling. Jacque Brel’s 'If You Go Away' receives a sensitive reading, with Gustafsson’s slightly rushed phrasing implying the sense of urgency in the lyrics. The use of the strings is subtle, never overbearing; Gustafsson’s voice is sweet, but never syrupy.

There is a certain pop sensibility about the arrangements and the production. Solos are short and contained; song form is always maintained; this is no heavy blowing session. But within the confines of the arrangements the musicians are given room to subtly interpret. 'Empty Hearts' opens the CD on a tender note, with a lyrical solo from Danielsson echoing the sentiments expressed by Gustafsson. While Gustafsson and Landgren stay relatively faithful to the melody of James Taylor’s 'Fire and Rain', the solo section takes off in another, equally lyrical, direction before returning for the last verse.

Landgren’s reputation for diversity is in clear evidence here, both in the choice of material and its interpretation. From the poignant 'The Moon is a Harsh Mistress' to the lightly funky 'Black Coffee' to the bossa 'It’s Been So Long', there is a breadth to the material that makes for a captivating programme; yet for all the variety there is an underlying cohesiveness that keeps things hanging together.

Throughout the programme there is a certain nakedness; a baring of the soul in Gustafsson’s delivery that sets her apart from other singers who approach similar material. Like Abbuehl and Endresen, Gustafsson avoids the pitfall of over-dramatizing in her phrasing and choice of notes; instead she keeps her readings simple, with the interpretation subtle and understated.

Listeners who are tired of the overblown way in which standards are typically being interpreted would be hard pressed to find a more open, unassuming album of vocal jazz than Rigmor Gustafsson’s I Will Wait For You. Between Gustafsson’s appealing delivery and Landgren’s tasteful production, this is one of the finest albums of vocal jazz to be released this year. (John Kelman, Jazzreview.com 2003)

Rigmor Gustafsson, vocals
Nils Landgren, trombone & vocals
Roberto Di Gioia, piano
Lars Danielsson, bass
Wolfgang Haffner, drums

Guests:
Staffan Svensson, trumpet
The FleshQuartet:
Jonas Lindgren, strings
Örjan Högberg, strings
Mattias Hellden, strings
Sebastian Öberg, strings
Chrille Olsson, strings


Recorded and Mixed by Jan Ugand at Polar Studios, Stockholm, Sweden in January and April 2003
Mastered by Klaus Scheuermann
Produced by Nils Landgren

Digitally remastered from 44.1kHz, 24bit to 96kHz, 24bit.

Rigmor Gustafsson
was born and grew up on a small farm in Värmland, in the very heart of Sweden. She picked up the guitar at age nine, and soon discovered her passion for jazz. It soon became clear that she wished to turn this passion into a career. But who was going to let a girl with a guitar play in their band? She had a wonderful voice, so she packed her guitar in its case and became a singer.

After her education at the Royal Academy of Music in Stockholm, she rapidly became known in Sweden as an excellent vocalist. She worked with various big bands, led her own small groups, performed on Swedish television and made numerous recordings for radio. In 1993 she moved to New York, to study at the New School and at Mannes College of Music with Sheila Jordan, Clark Terry, Richie Beirach, Phil Markovitz, Reggie Workman and Joe Chambers. She performed in the New York jazz clubs with Fred Hersch and Ted Rosenthal, recorded with Randy Brecker, Bob Mintzer and Dick Oatts, and soon Gustafsson herself was teaching at Mannes College of Music. She founded her first quintet, which toured all over Europe.

In 1996 Rigmor returned to Stockholm, was given a teaching position at the Royal Academy of Music and has since been regarded as a star of the young and lively Swedish jazz scene. In Germany the audience celebrated her performance at the JazzFest Berlin 2001 and she was immediately invited to the JazzBaltica Festival 2002, which presented her to a wider German audience as “a new star singer” (Jazzthetik). The same year she was a guest star on Nils Landgren’s highly successful album Sentimental Journey (ACT 9409-2) and in 2003 she presented her debut on ACT I Will Wait For You (ACT 9418-2), which established her firmly in the tradition of great Swedish jazz singers like Monica Zetterlund, Lill Lindfors, Sylvia Vrethammer or Alice Babs. I Will Wait For You rocketed up to second place in the German jazz charts and No.1 in Sweden, where she took over from Norah Jones, who had held place for 74 weeks. The German Jazz Award and a Gold record in Sweden were tangible rewards for the success of this album produced by Nils Landgren.

The following year Gustafsson and the French-American pianist Jacky Terrasson released a moving and sensual tribute to one of the greatest singers of pop culture, Dionne Warwick: Close To You (ACT 9703-2). Rarely have pop songs looked so good in jazz clothes. The new arrangements fit the soul-classics like a glove. The songs retain their pop identity, yet they have become exciting contemporary jazz. Gustafsson was not only rewarded with the Swedish Jazz Award, she was named “Best singer of the year” by Werner Burkhardt in the end-of the-year review in the Süddeutsche Zeitung.

On her next album On My Way to You (ACT 9710-2), released in February 2006, Gustafsson interpreted Michel Legrand’s world famous melodies from films with great jazz feeling. Some of his songs like “Windmills of Your Mind", "Once upon a Summertime" or "You Must Believe in Spring", have become part of the world's musical heritage, and Gustafsson û directed by producer Landgren û proves to be the ideal voice for these songs. Michel Legrand himself admits: “I am honoured that Rigmor has chosen to do some of my songs. She knocks me out!” On My Way to You even placed Gustafsson 12th in the Swedish POP charts, and the album won a gold record in Sweden.

Her current album Alone With You (ACT 9717-2, to be released in fall 2007), her fourth release on ACT, ventures into uncharted (for Gustafsson) territory. Although she has been writing music and also lyrics herself for years, Gustafsson is more known to the public for her exceptional and empathic versions of other people’s songs. Now she has taken another step forward and put together a highly personal album comprised exclusively of her own songs.

“Her soul speaks to other souls”, Werner Burkhardt wrote about her performance at JazzBaltica a few years back. One is hard put to find better words for her voice and her personality.

Nils Landgren
There is a synonym for the words diversity, curiosity and zeal: Nils Landgren. James Brown used to be considered the “hardest working man in showbusiness” and it now appears that the god of funk has bequeathed this title to a Swede who cheerfully travels the world with a bright red trombone. “Mr. Red Horn” swings brilliantly from one perspective to the next, also because he needs this constant change. Somehow, Nils Landgren, 55 years-old, also miraculously manages to divide his time – when he is not touring with his “Funk Unit” or other projects under his own name, he is very much in demand as a producer or talent scout. He passes his expertise on to students in Hamburg and Shanghai, advises the NDR Big Band on artistic matters (with which he also played as musician for several years), works with the versatile Swedish Bohuslän Big Band (most recently with arranger Colin Towns on “Don’t Fence Me In – the Music of Cole Porter” ACT 9028-2) and also compiles, as artistic director, the programme of the JazzFest Berlin (until 2011). “Even when I’m not bored it’s good for me to do several things at once so that I can have different perspectives as these change the way I sing and play the trombone and my audience also benefits from it,” he says.

For those who have been musically loyal to him for years, things never get boring. With Nils Landgren they have someone who feels as dedicated to the rich folklore tradition of his homeland as to the previously unheard. An idealist who ignores the boundaries between the genres and who has collaborated in joint projects with musicians such as Maceo Parker, Colin Towns, the Brecker Brothers, Airto Moreira, Till Brönner, Roy Hargrove, Fred Wesley, Steve Gadd, Richard Galliano, Michael Wollny, Joao Bosco, Benny Anderson (from ABBA), Viktoria Tolstoy, Joe Sample, Ray Parker Jr., Eddie Harris and Esbjörn Svensson and, in doing so, has continually broadened his horizons.

Landgren embodies not one but two souls. When the audience sees him with his “Funk Unit”, the Swede shows himself from his masculine and distinct, relentlessly grooving side and acts the jazz action hero. However, there is also a gentle melancholic, highly sentimental Nils Landgren. He can be seen during Advent time, for example, when the instrumentalist and singer celebrates “Christmas With My Friends” or on ballad albums like the current “The Moon, The Stars And You” (ACT 9505-2) as well as “Ballads“ (ACT 9268-2) and “Sentimental Journey” (9409-2) – in which he intones on the trombone with incomparable smoothness and his highly individual, fragile voice touches the heart and the soul with a remarkable sensibility.

Landgren came into contact with music already early on. He started playing the drums when he was only six years-old, the nightmare of all parents. It was when he was 13 years-old that Nils Landgren, born in 1956 in Degerfors, Värmland, under the star sign of Aquarius, realised his calling and changed to the trombone. Between 1972 and 1978, he gained a sound classical basis at various teaching establishments and quickly put these newly acquired technical skills on the trombone into practice, also in other areas. Encounters with folk jazz pioneer Bengt-Arne Wallin and trombonist Eje Thelin accelerated his musical career change. A change of location was also due and Nils Landgren moved to Stockholm where, within only a short time, he became known as the “man for all occasions”, a true one-off, someone who is able to stand out in almost any stylistic environment, a studio whizz. In 1981 he was taken on as the lead trombonist for the “Ball of Fire” project of the legendary Thad Jones which really proved to be a challenge. “After the first evening all I wanted to do was go home,” laughs Landgren. However, it is challenges like the one with Jones that made him such an accomplished musician, someone who is today not worried by new challenges. Bring them on!

The solo career of the man who has always gone right up to his limits and beyond, both musically and conditionally, has been going strong for almost thirty years. Nils Landgren’s debut, “Planet Rock” from 1983, marked the starting point of a very impressive discography including projects which could hardly be any more different from one another. The duo recordings, for example “Layers of Light“ (ACT 9281-2) and “Swedish Folk Modern” (ACT 9428-2) with pianist Esbjörn Svensson who tragically died far too young, as well as the album “Gotland” (ACT 9226-2), reveal someone who is very closely connected to their homeland, who moves through Scandinavian’s sound worlds, drifts into the ethereal and into the incomprehensible. On “Salzau Music On The Water” (ACT 9445-2) he met vibraphonist Christopher Dell and bassist Lars Danielsson on an installation on the water near Schloss Salzau and played ethereal sounds into time, a time during which night is falling asleep and the new morning is still yawing. The three were totally at one with nature during the recording.

However, the same Nils Landgren is also able to quickly come back down to earth again. To make a reference, for example, to the world famous fellow Swedes from ABBA with “Funky ABBA” (ACT 9430-2) or honour Cannonball Adderley with the album “Paint it Blue” (ACT 9243-2) by his multi award winning group “Funk Unit”, originally simply called “Unit”. Landgren gave the group its current name for the JazzBaltica Festival which also gave him his international breakthrough in 1994. This band does not, incidentally, only achieve great things from a musical viewpoint – the album “Funk For Life” (9500-2) supported, together with Doctors without Borders, a project to help musically promote children and teenagers in “Kibera”, one of the biggest slums in Kenya’s capital Nairobi. For each sold CD, one euro went to the good cause.

With his latest album, “The Moon, the Stars and You” (ACT 9505-2), released 26. August 2011, Nils Landgren again shows himself from his sensitive and fragile side. The ballad album is a continuation of “Sentimental Journey“ – one of the most successful albums of his career. Together with pianist Michael Wollny, bassist Lars Danielsson and renowned guests such as Richard Galliano, Steve Gadd, Joe Sample, Joao Bosco, Cæcilie Norby, the Stockholm Philharmonic Orchestra and the NDR Big Band, Nils Landgren interprets jazz standards, folk and pop and, of course, several of his own compositions. These are all carefully tuned, full of longing, occasionally funky and effervescent, yet always inspirational and swinging.

What will Nils Landgren come up with next? Where will his musical and artistic talents take him? Which hurdles does he feel he must still overcome? The Swedish all rounder has proven himself in so many different areas that his audience now believes he is capable of anything and more. Fact is: his greatest weakness may also be his greatest strength – he is bad at one thing: saying no.

Booklet for I Will Wait For You