Lina Nyberg

°°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°° reviews: ...brings a rare quality to the music that has become harder to find on the other side of the Atlantic: sensual maturity, candidness, and an admirable insistence not to comply with market rules which tend to target conservative and inattentive listeners. Nyberg, who has performed with some of the best Swedish jazz musicians (including Palle Danielsson, Anders Jormin and Esbjörn Svensson), can be playful, funny and smart. But on Tellus, she takes more risks and explores new frontiers.Tellus is Nyberg's eleventh disc as a leader and her second for the independent Swedish Moserobie label. She is accompanied by a triopianist Mathias Landæus, bassist Torbjörn Zetterberg, and newcomer Jon Fält, a member of Bobo Stenson's triobut she augments these fine players with some of the most adventurous players on the Swedish jazz scene: reed player Fredrik Ljungkvist and trumpeter Magnus Broo, both from the Swedish-Norwegian Atomic quintet; and guitarist David Stackenäs, a collaborator of Ken Vandermark and Mats Gustafsson. Eyal Haeuveni AllAboutJazz.com °°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°°°°° Theres something of Carla Bley in the avant-cabaret-jazz approach that Nyberg takes with this group. On Landala, a brief lyric introduction gives way to Per Texas Johanssons tenor saxophone solo and Broos overdubbed multiple trumpet lines. The passage would surely stand on its own, as would the free jazz finale to Beijing. Prepared piano and roiling low tones introduce San Saba, until a drunken swagger abruptly asserts itself, before reverting to the background, as Nybergs wordless chortles take the tune back into stranger regions of her world.Tellus is, however, rather all-over-the-map. Fragments of singer-songwriter folkiness (Pincio) and minimal art rock (Salwa and Berlin) creep in alongside atonal lieder. But Nyberg surely knows how to integrate what she hears, and the process goes beyond her own vocal lines. Clifford Allen AllAboutJazz.com