JANNE SCHAFFER

There are several alternate editions of this album that include a wide number of different songs that were not present on the original Midnight Sun release. Normally, I ignore these later and alternate versions and go for the original only, but, having happened upon a recording that included the awesome songs, "The Chinese," and the use of English titles for "Kulan," "Jordbruksmaskinen," "Fillins Mignon," and "Vindarnas Madrass" ("Marbles," "Harvest Machine," "Fillet Mignon," and "Air Mattress," respectively) as well as a mess of additional songs that turn out to come from his 1974 release, Janne Schaffer's Andra, I balked! As alluded to above, the problem is that I like them all! But, I will try to do my best to sort through the difficulties.

1. "Halkans Affär (4:20) a song that feels grounded in some of the great blues-rock/rock 'n' roll chords, riffs, and hooks of the 1960s--Allman Brothers, Buffalo Springfield, early Thin Lizzy, even Paul Revere And The Raiders, etc.--but it's Janne and Bengt's guitar play that are the featured meal here. (As twin guitars is the key feature overall--often harmonizing with each other--I guess it would be appropriate to cite this as a link between The Allman Brothers and Thin Lizzy.) (9/10)

2. "No Registration (6:10) a Larry Coryell-like exercise turns down a few side streets, e.g. with some amped up Ray Manzarek "Riders in the Storm" electric piano, some funky-chunky electric jazz bass, and some great delicate and power-chord electric guitar play (from both guitarists). It's great listening--greatly entertaining and engaging--but, again, it's barely touching that which I consider to be Jazz-Rock Fusion. Still, I like it! Very much! (9.25/10) 3. "Kulan (Marbles)" (4:57) an acoustic start with an Indian feel due to the droning sound coming from Stefan Brolund's bowed double bass, at the end of the first minute the guitar, soft electric piano, and Danny Thompson-like double bass begin rendering something that is more akin to something by THE PENTANGLE or some American artist: there is a sound and feel like an American Western mental-spiritual, mind-wandering balm or desert dream--Janne's solo on the acoustic guitar sounding and feeling like one particular member of AMERICA's guitar sound and style (or perhaps it's how the guitar was miked and recorded). Björn J:Son Lindh's Ray Manzarek electric piano chords and riffs shimmering in the left channel. Beautiful tune! (9.25/10)

4. "Titus" (3:46) electric guitar, bass, drums, tabla (!), and two tracks given to Björn J:Son Lindh's gorgeous flute play make for a very beautiful and interesting folk-tinged Smooth Jazz tune. Janne and company keep hitting it out of the park! (9.25/10) . 5. "Jordbruksmaskinen (Harvest Machine)" (8:10) this song defintely opens with 75 seconds of space music that sounds exactly like something the American jazz-fusion artists who were venturing into experimentations with the new synthesizers and their vast array of artificial sounds in the early 1970s (Herbie Hancock and Lenny White, thanks to Dr. Pat Gleeson, as well as Larry Coryell, Lonnie Liston Smith, Joe Zawinul, and Jan Hammer.) But then, at 1:20, the electric guitars and bass interrupt with some jarring power chords that make me think more of some of the early pioneers of "Heavy Metal" music (like Led Zeppelin) and Jeff Beck. But then there is a launch into a jazzy rock guitar Eric Clapton/Jimi Hendrix/Randy California-like passage--which is then quickly interrupted by an odd little "interlude" before coming back with more of an aggressive Larry Coryell funk orientation so that guest Jan Bandel can solo on his vibraphone alongside Björn J:Son Lindh's electric piano while the guitarists play some awesome rhythm funk guitar. In the sixth minute there is another "interlude" slow down into sort-of-spacey music before the band restarts the funk- anchored blues-rock lead wah-wah guitar shredding. The musicianship and sound throughout this is awesome; it's just not my favorite style of rock or fusion. (13.625/15)

6. "Daniel Sover" (0:35) a beautiful little strings trio with Janne, Bengt and Stefan playing all acoustic instruments. (4.5/5)

7. "Did You Ever Love a Woman" (4:42) B.B. King?! It even sounds like B.B singing but that is, no doubt, Janne on electric guitar. Was this like a recording of Janne playing over the top of B.B.'s own recording--like an early Karaoke experience--or maybe Janne's whole band playing over/with B.B.? The horns are all attributed to Swedish musicians-- and the vocal is credited to "Blues singer" Slim Notini, so I guess this really is a re-do/cover! But, still I'm confused! (9/10)

8. "Fillins Mignon (Fillet Mignon)" (3:17) opens just like a Led Zeppelin, Cream, or Joe Walsh song. The twin guitar play and interplay is awesome--especially in the beautiful second minute when one peals off to lead and the other lays back to provide rhythm support--and then they reverse their roles while switching their style and sound like Dr. Jekyll turning into Mr. Hyde (or Jan Akkerman turning into Joe Walsh). (8.75/10)

9. "Vindarnas Madrass (Air Mattress)" (3:34) a jazzy stop-and-go exercise in jerky syncopation being blended, alternatingly, with gentle folk and aggressive hard rock elements. Such creative vision! I just love the superb manifestations of such fresh and innovative ideas! Flutes, vibraphone, congas, funky bass, and, of course, a wide variety of guitar sounds and styles. Awesome! (9.125/10)

Bonus: "The Chinese" (3:18) (alternative on some issues to "Did You Ever Love a Woman") Definitely coming from the rock background and compositional perspective, this song feels like something from one of rock's early melodic geniuses. Great groove with some great riffs to hook the listener in--and the interesting skills flourishes and creative guitar sound production to keep him engaged. (9.25/10)

Total Time 39:31

I guess it's the finesse of the guitarist and the occasional jazziness of Stefan Brolund's electric bass that make people want to categorize this music under the Jazz-Rock Fusion umbrella, but, like a lot of Jeff Beck, this is less Jazz, more rock (and blues-rock), but, yes, there are occasional Larry Coryell-like flashes of brilliance, otherwise it's more like advancing rock 'n' roll--or rock 'n' roll infused with jazzy ideas and techniques.

I do, however, want to give high praise to the amazing sound production, amazing bass creativity of Stefan Brolund, awesome skill and diversity of "second fiddle" guitarist Bengt Karlsson (and Björn J:Son Lindh's flute play!), as well as the solid drumming of Ola Brunkert. Well done, Boys!

A-/five stars; an awesome collection of well-polished and highly-creative songs--a minor masterpiece!--just not sure this belongs in the Jazz-Rock Fusion category. Still, it is a wonderful album that I HIGHLY RECOMMEND for any lover of masterful, creative, eclectic prog-related song crafting and whole-band musicianship--and great sound!

Interestingly, Janne did contribute to a number of certifiable Jazz-Rock Fusion albums in the 1970s, most notably the brilliant Ablution one-off, two Pop Workshop albums, a couple Gabor Szabo, Rune Gustafsson, Putte Wickman, and Mads Vinding Group albums, as well as, later, a couple of prog rock band Isuldur's Bane's albums near the turn of the century, but he (and several of his band mates on this album) may be most famous for their contributions as the studio and live band to Sweden's international pop sensation, ABBA.

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