Inner Voices Jan Lundgren & Costa Yamandu

• 1 Para Aprender a Amar 04:44
• 2 Galliano 04:00
• 3 Fresu 03:37
• 4 Diplomata 04:27
• 5 Nina 03:07
• 6 Garoto 02:49
• 7 Hannah 04:05
• 8 A Legrand 04:04
• 9 Habanera 03:40
• 10 Choro Para Paquito 03:34
• 11 Summer Kind of Love 04:02
• 12 Uma Prece 04:23
• 13 Nocturne 03:08
• 14 Manhã De Carnaval 03:54
• Total Runtime 53:34

Info for Inner Voices

Pianist Jan Lundgren from Ystad in Sweden and guitarist Yamandu Costa, from Brazil’s southernmost province Rio Grande del Sur might seem an unlikely pairing, and the combination of guitar and piano is well known to be fraught with difficulty. But the collaborative affinity of this duo, the chemistry which they have found through playing together, first in a handful of concerts, and now on this fine album, are something truly exceptional.

Lundgren and Costa are internationally outstanding representatives of their craft. “For Yamandu Costa, the guitar is a natural extension of his body and soul,” a critic has observed. Costa has six Latin Grammy nominations and one win to his name, and plays with an elegance, harmonic fluidity and a deep knowledge of Latin American music across a whole range of contexts from solo to working with symphony orchestras. Jan Lundgren has made a major contribution to the European jazz of the past two decades, not least through his role in the Mare Nostrum trio with Paolo Fresu and Richard Galliano. As Dave Gelly has written in The Observer (UK), what Mare Nostrum’s members have in common is“ a flair for melody and a similar lightness of touch, which makes their combined sound both delicate and irresistible.” Such are the virtues which Costa and Lundgren bring to their new endeavour together.

The pair first met in Malmö in Southern Sweden in 2019, had dinner together and found an instant affinity. Lundgren invited the guitarist to be a guest at the festival which he directs in Ystad. As they got to know each other they listened to each other’s music, both finding a genuine enthusiasm for the music of the other, which eventually led Lundgren to ask “shall we do something together?” “It made me very happy when the Stockholm Konserthuset joined in on the idea,” the pianist remembers. The duo’s first concert took place on 17 February 2023, was captured on video, and the good experience led them to arrange more concerts and then to book dates for a recording.

After a few days of working on the new repertoire at the ACT Art Gallery, the duo headed to Emil Berliner studios for just a day and a half of recording in February 2024, with Andreas Brandis producing and the watchful and experienced ear of Rainer Maillard as engineer. Brandis says: "It's amazing to hear how closely their playing interlocks, how they constantly switch the roles of lead and secondary voice. Both are masters of harmony and melody, each with their own cultural background." Lundgren agrees: “That is where we find each other and why we like each other,” and Costa ads: “We play original music. I believe that in this way we can have something sincere and really true to our purposes.”

That interest in giving to a collective endeavour is astonishingly palpable from the very first seconds of the album. The rhythm of “Para Aprender A Amar” (to learn to love) is Ecuadorian, a pasilo and the first strong melodic voice that we hear is of the lowest string of Costa’s “violão de sete cordas“ (seven-string Brazilian guitar), a signature model from Cuenca in Spain. There are also delightful explorations of Brazilian music, such as the lively choro “Diplomata”, and a little-known gem from Jobim, “Garoto”. The titles of Lundgren’s compositions point clearly to how personal and how authentic this album is. He has devoted one track each to his Mare Nostrum partners Paolo Fresu and Richard Galliano, and also one to his wife, singer Hannah Svensson.

The variety of style, pace and mood of “Inner Spirits” as a whole is addictive. Jan Lundgren and Yamandu Costa’s winning combination of empathy, mutual respect and jaw-dropping musicianship has produced a beautiful-sounding set which is certainly about to earn its place as one of the very great piano-and-guitar recordings.

Jan Lundgren, piano
Yamandu Costa, guitar

Produced by Andreas Brandis

Jan Lundgren
was born in the South of Sweden in 1966. His first serious tuition was already under way at the age of five…in the form of both piano lessons and tennis lessons. He proved particularly talented at both, and some were convinced by the time he was a teenager was that he would become the new Adolf Wiklund, whereas others were already hailing him as a new Björn Borg. It is to the good fortune of jazz fans of that Lundgren decided in the end to go with music. As might be expected, his first musical explorations were in the classical realm, but once he found out about jazz – rather accidentally and much later – he found that this newly discovered world was very much to his liking and the one that he really wanted to immerse himself in.

He went on to study at the renowned Malmö Academy of Music when he was 20. According to a story which often does the rounds, he was accepted on the condition that he would also take up the position of pianist in the well-known Monday Night Big Band. He was soon playing with all the best-known jazz musicians in Sweden, from his mentor Arne Domnerus to Putte Wickman and Bernt Rosengren. But he also travelled regularly to the USA from an early stage (and still does so to this day) to work with legends such as Benny Golson or Johnny Griffin. Thanks to his outstanding technique and his classical grounding, Lundgren quickly acquired an encyclopaedic knowledge of the tradition of American jazz piano, and was soon cognizant across all styles from early to modern jazz. And was all put to gud use as raw material from which to create his own music, as quickly became apparent.

Lundgren’s highly acclaimed debut album “Conclusion” was released in Sweden in 1994, and a year later he founded his own trio with fellow students Matthias Svensson on bass and Rasmus Kihlberg on drums (from 2000 on the drummer was the Dane Morten Lund, and since 2007 it has been the Hungarian Zoltan Csörsz). The trio didn’t have to wait long for a breakthrough: the album “Swedish Standards”, released in 1997, became a best-seller and its success was to prove durable. The album made it into the Swedish pop charts and – with a re-release in 2009 – became something of a standard in its own right. Six further, award-winning and commercially successful albums with this line-up followed in the years until 2003. The trio’s intensive touring activities culminated in a concert at Carnegie Hall in New York in June 2000. This was in the context of “Swedish Jazz Salutes the USA”; it made Lundgren the first Scandinavian jazz pianist to perform in this hall, so steeped in history.

As befits the immensely hard-worker that he is, Lundgren always has other projects on the go, and throws himself into them whole-heatedly. To date Lundgren has recorded more than 50 albums under his name or as co-leader for high-profile labels (from 2005 to 2009, and again since 2014 he has recorded exclusively for ACT), plus dozens more as accompanist. He has worked with almost all of the important Swedish musicians and with numerous international jazz stars such as Mark Murphy, Harry Allen, Lee Konitz and Stacey Kent. He has also produced several CDs himself. In 2010 Lundgren founded the “Ystad Sweden Jazz Festival” in the southern Swedish towm, where he has lived since 2005 and which is known world-wide as the setting for Henning Mankell’s Wallander TV crime series. The “Ystad Sweden Jazz Festival” quickly became established as one of the most important jazz festivals in Europe. Lundgren maintains a strong attachment to it as its artistic director.

As a pianist and composer, Lundgren has been one of the pioneers in the process of emancipating European jazz from American jazz, and has set the direction for the generations that have followed him. His playing combines several things: the virtuosity, the way of shaping sound and an awareness of form which are typical of European classical music; a conscious memory of his own folk music traditions; the canon of American jazz; and the unfettered joy of improvisation. This makes him an ideal person for all kinds of music-making across genres, and the list of activities is impressive. It includes work with the classical trumpeter Hǻkan Hardenberger on creating an exciting blend of modern classical and free music. There has been an interdisciplinary experiment with the Swedish writer Jacques Werup. Lundgren has focused on Renaissance sacred music with bassist Lars Danielsson and the Gustaf Sjökvist Chamber Choir in “Mare Mysterium”. There has been a tribute to the pianist Jon Johansson who died far too young. Johansson was a pioneer who combined jazz and Swedish folklore in a specific “Nordic sound” and is thus is an overtly acknowledged and direct role model for Lundgren. This was recorded and released as “The Ystad Concert – A Tribute to Jan Johansson” in 2016. Lundgren has also been involved in centenary tributes in major European concert halls to the great musical polymath Leonard Bernstein.

To some extent, the project which defines the quintessence of Lundgren’s activity is the “Mare Nostrum” trio. One critic has called it “Europe’s first supergroup” and there is quite some truth in that. Lundgren’s way of making music is to be stylistically versatile and adaptable, to create space for things to happen, and always to be melodic. In this approach he ideally complements the Mediterranean sound worlds of the Sardinian trumpeter Paolo Fresu and the French accordionist Richard Galliano. The debut album of this collective of equals, released in 2007, has sold more than 50,000 copies, making it a huge success in the context of jazz. Since that first release there have been two more releases by the trio, each one recorded in a different home country of one of the three musicians. The most recent, “Mare Nostrum 3” appeared in January 2019. The three albums constitute a brilliant trilogy from these great poets of music. Together they have redefined where European jazz is. It is a project through which Jan Lundgren has reinforced his profile and his significance : he is in effect one of the co-founders of a “Great European Songbook”.

Yamandu Costa
was born in Passo Fundo, Rio Grande do Sul, Brazil in 1980. There, he began his guitar studies with his father Algacir Costa, band leader of “Os Fronteiriços”, when he was 7 years old. Later, he perfected his technique with Lucio Yanel, an Argentine virtuoso who was then living in Brazil.

Until the age of 15, Yamandu’s only music school was the folk music from the south of Brazil, Argentina, and Uruguay. Nevertheless, after he heard Radam’s Gnatall’s work, he decided to get in contact with the music of other renowned Brazilian musicians, such as Baden Powell, Tom Jobim, Raphael Rabello, among others.

When he was 17, he played for the first time in São Paulo at “Circuito Cultural Banco do Brasil” (BB Cultural Tour). The event was produced by “Estudio Tom Brazil” (Tom Brazil studio), and from then on he was recognized as one of the most gifted guitar players of Brazil.

Considered by some one of the greatest geniuses of Brazilian music of all times, Yamandu deserves the highest praise. Whenever he is on stage, he fills with joy the most select audiences, since his impressive performance shows the deep intimacy between Yamandu and his guitar.

Yamandu is a guitar player, composer, and arranger that does not fit into a single music style, yet he creates his own when he combines all of them playing his 7-string guitar. Yamandu Costa’s diverse styles include chorinho, bossa nova, milonga, tango, samba and chamamé.

A 2021 Latin Grammy winner for Best Instrumental Album, Costa has collaborated with Bobby McFerrin, Richard Galliano, Doug de Vries, Gilberto Gil, Toquinho, João Bosco, Ney Matogrosso, Marisa Monte, Renato Borghetti, and many more.

In 2023, Yamandu Costa released De Vida y Vuelta, an album created with Domingo Rodríguez Oramas, known as Domingo El Colorao, a leading traditional timple (a diminutive five-string guitar) player from the Canary Islands, Spain.

The 2024 album Inner Spirits by pianist Jan Lundgren from Sweden and Yamandu Costa presented the remarkable musical chemistry of the two maestros, mixing jazz, Western classical, and South American styles. Both acclaimed artists first connected in Malmö in 2019. Their collaboration blossomed at Lundgren’s Ystad festival and culminated in recording this album in February 2024 at Emil Berliner Studios. The album, produced by Andreas Brandis, highlights their seamless interplay and mutual focus on melody, featuring compositions like “Para Aprender A Amar,” “Fresu,” and “Diplomata,” along with personal dedications by Lundgren. Their empathy and exceptional musicianship make Inner Spirits a standout in piano-and-guitar recordings.

Booklet for Inner Voices