Known to opera audiences worldwide, Camilla Tilling is also a dedicated recitalist. On two previous BIS releases, the Swedish soprano and her musical partner Paul Rivinius have interpreted Strauss as well as Schubert, to critical acclaim: 'Tilling takes her place among the leading Strauss sopranos of the day' (Sunday Times); 'a Schubert recital of rare pedigree' (Gramophone). On her present offering she turns northwards, interpreting songs by Grieg, Sibelius and Wilhelm Stenhammar. The disc takes its title from an early song by Stenhammar, I skogen ('In the forest'), and many of the selected songs are either played out in or depict natural settings, in a manner we are familiar with from Nordic composers.
Piggybacking on 1992’s Invisible Storm, ECM maverick Edward Vesala returned with his organic collective, Sound & Fury, as our guide for Nordic Gallery. Vesala draws a thinner circle around his ensemble this time around, weaving inside it a dreamcatcher for communal freedom, as exemplified in the 11-minute “Bird In The High Room,” a menagerie of cymbals, muted horns, drums, and birdsong.
The title "Rikedom och gåvor" means Wealth and Gifts. It is a bitter love song: Rikedom och gåvor kan jag inte ge dig, därför föraktar du mig … I cannot offer you wealth or gifts, that's why you despise me. The song is from the vast collections of fiddler John Enninger (died 1908) of Höör in Skåne in the South of Sweden. It is said that his playing found its most irresistible shape after some schnapps and boiled eel. Swedish roots band Svanevit discovered Enninger when searching for new tunes and recipes. What once was a duo plus support, has been grown into a full band and a tight outfit indeed.
Generally acclaimed as fusion's greatest drummer, Billy Cobham's explosive technique powered some of the genre's most important early recordings – including groundbreaking efforts by Miles Davis and the Mahavishnu Orchestra – before he became an accomplished bandleader in his own right. At his best, Cobham harnessed his amazing dexterity into thundering, high-octane hybrids of jazz complexity and rock & roll aggression. He was capable of subtler, funkier grooves on the one hand, and awe-inspiring solo improvisations on the other; in fact, his technical virtuosity was such that his flash could sometimes overwhelm his music.