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BJORN J:SON LINDH

Eclectic Prog • Sweden


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Bjorn J:Son Lindh biography
BJORN J:SON LINDH was born in 1944, and majored in flute and piano at the Ingesund University College of Music. He continued his musical studies at A Björn J:son Lindh was born in Arvika, Värmland, Sweden in October 25 1944. He majored in piano and flute at the Ingesund University College of Music, in Arvika, Sweden. He pursued his musical training at Musikhögskolan, The Royal School of Music, during the latter half of the 60s, then went on to play free-jazz with NILS SANDSTROM and, with ABD El RAHMAN El KHATIB, who appears on Lindh's album, Cous Cous he played Arabic flute music. Lindh has collaborated with the esteemed jazz-rock fusion/ jazz gutarist, JANNE SCHAFFER - a man best known as a session guitarist for ABBA. Linsh and Schaffer formed the band HORSELMAT. Lindh has played on many RALPH LUNDSTEN albums, who is a pioneer in electronic music and an artist.

While Lindh has worked as a session musician on many albums (he played flute on MIKE OLDFIELD's Islands), he released 14 studio albums under his name between 1970 and 1999, and also has composed music for films and TV. His music ranges from jazz to Eastern, Indian and Arabic music, to folk to pop to classical to ambient electronic relaxation/ new age albums. It is his early albums that secured a place for him in Prog Archives.

His first album, "Ramadan" is an Eastern flavoured jazz-rock Fusion (and folk) album. His second album, and my personal favourite of his, is the Eclectic "Från Storstad Till Grodspad", which combines classical, jazz, rock, pop and psyche. "Cous Cous" is Arabic/ Eastern inspired jazz-rock, and "Sissel" is a Krautrockish jazz-fusion album.

Lindh also collaborated with TRIANGULUS (in PA under Prog Related) for Triangulus' debut album, "Triangulus and Bjørn J:son Lindh".

Not only is Lindh an active musician (flautist and keyboardist who also works with synths and current technology) but he has composed music and produced albums for many well-known artists.

- Logan

Bjorn J:Son Lindh official website

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Lyne: Recorder Concerto/Lindh B.: Recorder ConcertLyne: Recorder Concerto/Lindh B.: Recorder Concert
Bis Records/Naxos 1994
Audio CD$11.42
$9.87 (used)
AtlantisAtlantis
Storyville
Vinyl$9.99 (used)
Boogie WoogieBoogie Woogie
Metronome
Vinyl$29.99 (used)
a day at the surface LPa day at the surface LP
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Vinyl$20.00 (used)
Det Baste MedDet Baste Med
Import
Imports 2008
Audio CD$19.76
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BJORN J:SON LINDH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BJORN J:SON LINDH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.19 | 8 ratings
Ramadan
1971
4.36 | 9 ratings
Från Storstad Till Grodspad
1971
3.18 | 8 ratings
Cous Cous
1972
3.15 | 8 ratings
Sissel
1973
3.00 | 4 ratings
Boogie Woogie
1974
0.00 | 0 ratings
Second Carneval
1975
3.93 | 5 ratings
Raggie
1976
4.17 | 6 ratings
Bike Voyage II
1978
0.00 | 0 ratings
Våta vingar (Wet Wings)
1980
4.00 | 1 ratings
Musik
1981
4.00 | 2 ratings
Atlantis
1983
0.00 | 0 ratings
Europa (with Staffan Scheja)
1984
0.00 | 0 ratings
Spirits Of Europa, Opus II (with Staffan Scheja)
1985
4.00 | 1 ratings
Världen Vänder
1985
0.00 | 0 ratings
Feather Nights
1987
4.00 | 1 ratings
Svensk Rapsodi
1989
0.00 | 0 ratings
Europa Opus III Bridges (with Staffan Scheja)
1989
0.00 | 0 ratings
Profeten
1993
0.00 | 0 ratings
In The Air
1999
0.00 | 0 ratings
Mental Avslappning
2001
0.00 | 0 ratings
Inner Beauty (with Torbjörn Carlsson)
2001
0.00 | 0 ratings
Dansmeditation
2002
0.00 | 0 ratings
Skymningsglöd
2010

BJORN J:SON LINDH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

BJORN J:SON LINDH Videos (DVD, Blu-ray, VHS etc)

BJORN J:SON LINDH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Spotlight
1991
0.00 | 0 ratings
Brusa Högre Lilla Å
1994
0.00 | 0 ratings
Guldkorn
2000
0.00 | 0 ratings
Samlat 1978-89
2008

BJORN J:SON LINDH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Good Time Charlie's Got the Blues
1972
0.00 | 0 ratings
Cous Cous: My Machine / Love March
1974
0.00 | 0 ratings
Love Machine
1977
0.00 | 0 ratings
Sing Lowder Little River (Tema De Amor)
1982
0.00 | 0 ratings
From Here To Eternity
1983
0.00 | 0 ratings
Sweet Revenge
1987

BJORN J:SON LINDH Reviews


Showing last 10 reviews only
 Cous Cous by LINDH, BJORN J:SON album cover Studio Album, 1972
3.18 | 8 ratings

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Cous Cous
Bjorn J:Son Lindh Eclectic Prog

Review by DrömmarenAdrian

3 stars Björn J:son Lindh's third studio record from 1972 is a pleasant bit of music. Björn and the other musicians are very talanted and this is absolutely music worth listening to. On Cous Cous J:son Lindh takes his inspiration from eastern neighborhoods. This is music for everybody loving flute in progressive rock because this is totally flute driven music.

This is a good recording with many interesting compositions. The best track is "Elastic springtime" which is a perfect seventies mood composition with speed and and sheer happiness. Also "My machine", "Good time Charlie's got the blues", "The Booster Bump" and the long orientalic psychedelic "Abdo" are nice pieces for music lovers.

The negative I have to say about this album is that it is too smooth and nice. He should have been more experimental. This is nice but not very exciting.

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 Ramadan by LINDH, BJORN J:SON album cover Studio Album, 1971
3.19 | 8 ratings

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Ramadan
Bjorn J:Son Lindh Eclectic Prog

Review by GruvanDahlman
Prog Reviewer

3 stars I do not know how many times I've listened to "Lastbrygga" and "Kullens fyr" and everytime I am blown away with the jazzy grooves of these two amazing tracks. Lindh's flute and electric piano are excellent in every way and always performed in a flawless fashion on every recording of his.

The music could be described as late 60's, early 70's movie soundtracks with it's kind of minimalistic grooves and funky jazz rock. At least that is true in the two tracks previously mentioned. For me that is musical heaven. It is something truly mesmerizing about that sound.

While "Lastbrygga" and "Kullens fyr" are excellent pieces of music the tracks inbetween are pleasent but not really to my taste. They are a bit too similar in sound, I find. The album is framed in the two groovy jazz rock tracks while the main body consists of more mellow pieces. I have always thought that the album would have done better if Lindh put one more groovy track in the middle, making it a more varied album.

Conclusion: "Ramadan" is a good but non-essential album. While the first and last track are brilliant the middle pieces are kind of lost to me. Not bad, just not that interesting. Pleasant but not outstanding in any way. I do urge you, though, to listen to the two tracks I have mentioned. They are excellent and shows the scandinavian jazz rock at it's finest.

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 Sissel by LINDH, BJORN J:SON album cover Studio Album, 1973
3.15 | 8 ratings

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Sissel
Bjorn J:Son Lindh Eclectic Prog

Review by GruvanDahlman
Prog Reviewer

3 stars I love J:son Lindh's music and early 70's albums. At least that is true in parts. The whole jazz rock scene of the early 70's and late 60's fills me with gladness. The mix of jazz sensibilities and rock music results in a very enthralling combination of genres really not that far apart, yet still different.

J:son Lindh and Jan Schaffer are two of my favorite musicians from Sweden, though their musical output not always fits my taste but when it does it suits me in a splendid way. "Sissel" is the fourth album by Lindh and in my opinion his best. The combination of jazz, rock, prog and jams is excellent, really. Though the musicianship is flawless the result is a good but non-essential piece of vinyl.

The two tracks which I listen to the most are "Bull dog" and "Storpolska". They are simply irresistable pieces of music and jazz rock at it's finest moments. "Storpolska" is a mix of rock, swedish folk and jazz all rolled up in one amazing stew of thundering musicianship, energy and inspiration. I love that track and rate it with five (5) stars while "Bull dog" is a certified four (4). The remaining tracks are good, just not that explosive and splendid.

Conclusion: "Sissel" is a really good example of (swedish) jazz rock and holds moments of genius. The musicianship leaves nothing to be desired, though the album as a whole is not up to par with the two magnificent "Bull dog" and "Storpolska". If you are able to get a hold of this album, buy it and give it a try. It's worth every penny and I am waiting for it to be released as a CD along with the others of Lindh's 70's output.

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 Raggie by LINDH, BJORN J:SON album cover Studio Album, 1976
3.93 | 5 ratings

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Raggie
Bjorn J:Son Lindh Eclectic Prog

Review by DrömmarenAdrian

4 stars Do you like prog bands using a flute to enlighten their music? Do you think Peter Gabriel should have played more flute or are you generally interested in what you can do with different instrument? Then Björn J:son Lindh is somebode for you. He is a very talanted swedish flutist and composer. Prog Archives has ignored putting some of his record here but I'm happy some are here. I promise many prog band would have loved playing with Björn J:son Lindh. Lindh had help with thirty musicians to do this record (not everybode at the same time though) and here we have a very pleasant result of that work.

The music is a mix of rock, swedish and orientalic folk music, jazz, american rock and progressive rock. My favourite track is "Anniversary march" which is very influenced by swedish folk musik. That is a fast as strong piece. " Bike voyage" has a magic and beautiful feeling of nature. "Raggie" is a crazy mix och 1940s piano and rock music, "Deer's Pasture" is sad and melancolic, very swedish and "Persian supermarket" proves a great drum solo, exciting percussion and orientalic dances. All these tracks are great and worth listen to. "Dry Country" is quite boring beside of "The Pond" but the unity is still amazing. This artist is something very different with so flute-dominated music. I can warmly recommend it.

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 Från Storstad Till Grodspad by LINDH, BJORN J:SON album cover Studio Album, 1971
4.36 | 9 ratings

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Från Storstad Till Grodspad
Bjorn J:Son Lindh Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars It's difficult to find out much info on this album so i'll just copy what Guldbamsen said. Okay that would be redundant I suppose but it's because of David that i'm finally able to hear this album. Released in 1971 it combines the talents of THE SWEDISH RADIO SYMPHONY ORCHESTRA with multi-instrumentalist Bjorn J : Son Lindh and his band. Now i've mentioned many times that I just don't like orchestral music mixed with Rock, there are not that many that have worked for me but this is certainly one of them. What an eclectic album though. And to think this was 1971 ! Man this really should be more well known as it's one of those lost classics.

"Musik Fran En Storstad" is the side long opening suite clocking in at almost 22 minutes. It's orchestral to start and it starts to build before 2 minutes, and this sounds really good after 2 1/2 minutes. A change 4 minutes in as we get back to more of an orchestral flavour once again. Drums after 5 1/2 minutes and the guitar joins in too as the orchestral sounds disappear. A change after 7 1/2 minutes as we get a calm with piano, flute and a beat. Another change 9 minutes in as we can hear samples of road noise and percussion of some sort. It turns haunting 11 minutes in followed by a beat as intricate sounds start to come and go. It's building as the orchestra joins in. It settles back 15 minutes in and it's still orchestral. It's haunting with a beat and bass before 16 minutes as orchestral sounds help out too. Great sound ! It kicks in at 19 minutes to an uptempo rock mode and the guitar starts to light it up.

"Tom Bohla 1971" is a short piece that consists of a crowd cheering throughout with orchestral sounds. "Grytnas Svaller" is uptempo and quite impressive with piano, drums and more. The guitar joins in too. So good. "Biezlov" is piano and guitar followed by drums and bass along with vocal melodies. "Den Dansande Wollmar" opens with strings and a beat. Cool sound. Horns join in followed by guitar then it settles to an orchestral mode but not for long. Great track ! "I Grodspadet" is the only vocals track and the singing is in Swedish. Piano and drums help out early then it turns orchestral when the vocals stop late. Amazing sound. "Stang Locket-Hon Fryser" opens with piano as intricate sounds help out. Drums before 3 minutes as it intensifies. "Tom Bohla" like the earlier named track is short but this time with laughter from the audience throughout instead of cheering.

4 stars for now but as i get to know this album better I can see that rating going up. A must ! And please read Guldbamsen's review as he describes the subject matter of this record so well.

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 Från Storstad Till Grodspad by LINDH, BJORN J:SON album cover Studio Album, 1971
4.36 | 9 ratings

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Från Storstad Till Grodspad
Bjorn J:Son Lindh Eclectic Prog

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

5 stars Urban Inferno

My 100th review? Let me take you back to those Swedes, whom I've been rambling about a couple of weeks back. Not only do these snus addicted people have an amazing metal scene going on at the moment, which has been incredibly innovative and influential (sorry Caio), but way back in the day this country was spewing out progressive gems like a proper diamond dog suffering from bulimia.

If there ever was a clear cut case for a cd reissue, then certainly Från Storstad Till Grodspad must be it. I mean, going back to the 90s Sweden had a huge resurgence of progressive music with acts like Änglagård, Landberk and The Flower Kings just to name a few, and still they are dishing out acts that continue to gather fans from all over the globe. Yet albums I'd personally deem as long lost masterpieces - those records that will stand the test of time, these remain forgotten and unreleased. Sitting around in a shady corner waiting for the redeeming applause. I honestly don't get it, and it is a crime that albums like these aren't heralded the way they deserve.

I'll bet that the name Björn J:Son Lindh probably doesn't ring a bell? Even so, how many of you guys knew of Gentle Giant or Henry Cow before joining this forum? Names matter not - only the music. This man has made a lot of different tasting music spanning from these his early efforts where jazz, psych and all kinds of musical experimentation took place - to the way of disguising himself as the Swedish equivalent of Ennio Morricone creating soundtracks for such flicks as Mannen på Taket and Jägarne. Put another way: He's been around the block.

This album is the result of a highly imaginative meeting between The Swedish Radio Symphony Orchestra and Lindh, and if you're thinking: Aaahh yet another one of those rock albums that flirt around with the pomp and power of the symphony orchestra, then boy are you mistaken. Recorded on two separate occasions with but a few months in between, what you get is a side long suite that openly tears down all the prefabricated notions on how these collaborations usually pan out - and does so with an effective drill bit up front and in your face(I actually mean that in the most literary sense, but I'll get back to this), whilst the other side consists of shorter to the point tracks that still carries on that little aftermath of what went before it, like a long lingering hangover still emanating in your head.

The title track is many things. It is jazz - like te tsch te and through a multitude of alternating fusion like sections - and yet it is far away from being something you can incarcerate within any sort of black box. You have electronics buzzing, zooming, quacking away when Lindh decides to share with you his love of the moog synthesizer. It's never heavy on the ears, but I do occasionally hear it mimicking frogs and crickets - or just colouring the main events in futuresque Star Wars spices, that never feels out of place nor steal away the focus of the actual piece. Then you have the exotic psychedelic feel of the guitar that sounds strangely angular in texture - often counterpointing the nouveau symphonics in play here, that reminds me of modern composers like Stravinsky and Mussorgsky. This combination of the lone ranger guitar in heavy seas of cascading terrifying sweeps of the orchestra sends shivers down my spine, and truly feels like dancing with the grim reaper bathed in moonlight. The guitar and symphonics - man these things are unintelligible - like talking about the relationship between ice and water - even if they start as the same. They're juxtaposed forever - yet still manage to melt together as one big blurry sharp and organic beast. And just because I said that this album wasn't exactly the every day rock n symph collaboration, it still wields enough funky bass lines and masterly executed drum sections to hold the interest of the casual rock n' roller. Just you beware of the different sonic traps that lurk deep within this captivating suite. The name itself means (and don't take my word for it...) something like the voyage from the big city to the countryside, and what we get is all of the urban delights - such as drill bits(Especially the drill bit speaks to me, as it oddly enough seems to open up in what can nearly be described as true musical bloom - sounding like a whole range of different things, whilst still being a drill bit. At some point I mistook it for those insisting mating calls you get from lascivious frogs!), thundering cars, church bells, sirens - all of this crammed into the music - telling you about the horrific stress laden Zeitgeist of the modern civilisation through its very presence. It's a musical journey that takes you through all these factors, that still today feels as apt and relevant as the day of its birth. It's the fire breathing monster of every day life - the city dweller's cross. And still after all is said and done - the notes, city and nature each one has said their piece - everything ends in chaos and musical debris - with the dying whispers of a moog slowly emanating into birdsong.

Rolling and tumbling through the rest of the cuts are still these unfinished businesses, regurgitating melodies and strengths of the big kahouna. They feel like they're backing up the big boss in feel, and still they put up a relevant and slightly alternative way of looking at the music presented on the title track. There's more of a cohesive spirit for the tracks to hang their hats on though - to which the guitar is played with, and the way the drums roll together with the meatiness of the bass. One thing that doesn't fluctuate much is the way Lindh plays the flute, which is so soft and effervescent in nature that I had him picked for a woman the first time I heard the feminine touch of this wind instrument.

This is an eclectic venture to say the least. It plays on so many tangents that you forget about boxes and such. You've got bass, cello, guitar, drums, moog, violins, flute, trombone, horn, oboe, accordion, saxophone, the occasional Swedish sung vocals (which incidentally are beautiful and breezy), piano, organ and all those mentioned sound effects dropped in the mix for good measure - and there's still a somewhat harmonic feel to it, even if it speaks about the terrors of the urban inferno, and how we sometimes are afraid of the silence.

Is it any wonder that I love it so much?

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Thanks to Logan for the artist addition.

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