Gustav Lundgren's Coltrane Tributes: Live vs Studio
Swedish guitarist Gustav Lundgren pays homage to John Coltrane with two releases — one live, one studio — featuring the same band and largely the same repertoire. Both albums showcase polished Scandinavian jazz craftsmanship, but offer few surprises for listeners seeking bold reinterpretation.
Two Coltrane Albums, One Nordic Jazz Band
Lundgren released Echoes of Coltrane and Plays Coltrane within the same year, presenting overlapping material in parallel formats. His quartet includes Danish pianist Rasmus Sørensen, bassist Pär-Ola Landin, and celebrated drummer Jorge Rossy. The live recording captures genuine audience energy, while the studio version delivers a clean, driven sound. Together, they form a cohesive portrait of european jazz musicianship at a high level.
Skilled Jazz Playing That Stays Inside the Lines
Every musician here is technically accomplished, navigating the Coltrane idiom with fluency and swing. The solos are interesting and the interplay is tight — exactly what jazz fans expect from this caliber of player. However, the interpretations rarely stray from convention. If you enjoy straightforward, well-executed jazz tributes, these albums deliver. Those hoping for adventurous reinvention may find the approach a little too faithful to the originals.
Standout Moments Worth Your Attention
A few tracks do offer welcome variety. Central Park West takes on a soft, Metheny-influenced feel, while Lazy Bird strips things back to a piano-free trio format. Moment's Notice is recast in seven-beat time, adding rhythmic intrigue. These moments hint at what a more daring approach across the full project might have achieved, and they give you genuine reasons to keep listening.
Key Takeaways
Gustav Lundgren's dual Coltrane releases are a showcase of refined nordic jazz technique and respectful tribute. If you appreciate clean, swinging jazz played with skill, both albums reward a listen — just don't expect them to reinvent the source material.
Author: Dan Backman
Source: Orkesterjournalen
Published: October 2, 2026
