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Sidsel Storm belongs to the cream of the crop of new Danish female jazz singers, including names such as Sinne Eeg and Malene Mortensen. Since releasing her self- titled debut in 2008, Storm has made herself a solid name on the Danish jazz scene and Swedish Lullaby, her second effort, suggests she's ready for worldwide attention.
Swedish Lullaby shows a singer who has matured surprisingly fast. Storm's voice shines with a wide palette that leaves room for both sensual easiness and a mellowness and depth that fits the restrained pain of the lyrics in a song like "Stolen Years" with the chorus: "Trust is replaced by fear, / And around every corner / Are stolen years."
Clearly, Storm isn't afraid to delve deep inside the darker shades of a song, and as lyricist, she avoids shallowness and clichés, sticking instead to a simple, poetic language that gives plenty of possibilities for her inventive phrasing.
Besides eight originals, there's also room for two standards and especially Mercer and Mandel's "Emily" which receives a fresh reading with bassist Jesper Thorn playing a thoughtful intro before Storm wraps her voice around the melody and caresses it until drummer Morten Lund and pianist Lars Jansson steps in and makes the tune swing like a joyful carousel.
Throughout, the album sports inventive arrangements with subtle use of strings and the lonely murmur of a hazy trumpet, but it is the chamber-like format of vocal, bass, piano, and drums that lies at the heart of the session which comes across as a quiet revelation.
Track Listing: Swedish Lullaby; The Day He Returned; Within A Lifetime; All Or Nothing
At All; Stolen Years; Hazy Mind; Emily; Don't Turn The Lights Out;
Secret Game; Playing My Heart.
Personnel: Sidsel Storm: vocal; Lars Jansson: piano; Morten Lund: drums,
percussion; Jesper Thorn: bass; Gunnar Halle: trumpet; Alexander
Kraglund: violin, harmonica; Carl-Oscar Østerlind: cello; Peter
Otto: hammond organ.
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me. Try as I might, I was never able to achieve a high enough level of competency to perform at the level I was first and subsequently exposed to. Regardless, I was hooked on jazz and remain so to this day.