Jonas Hellborg Albums (19)
What The Critics Say
Bassist Jonas Hellborg doesn't have quite the visibility or reputation of fellow bassists Bill Laswell or Jah Wobble, but on this CD he displays an equal (if not superior) facility for musical synthesis -- along with absolutely monster chops that elevate him far above either Laswell or Wobble and place him much closer in jaw-dropping technique to the legendary Jaco Pastorious. The most impressive aspect of this recording, however, is not Hellborg's technique, or that of his long-term collaborator, guitarist Shawn Lane, but the integration of the two players into a relatively pure East Indian frame of reference. It should come as no surprise that Hellborg was once part of John McLaughlin's reincarnated Mahavishnu Orchestra (replacing the original bassist, Rick Laird), but Hellborg goes further than McLaughlin, and much further than Laswell's one-size-fits-all ethno-funk, essentially adapting his style to the Indian classical tradition. Hellborg makes some interesting choices, also, in the composition of the working group assembled for the recording, adding only an Indian vocalist, V. Umamahesh, and two percussionists, V. Selvaganesh and V. Umashankar, who play the ghatam and kanjeera, two types of hand drums used in the Southern Indian musical tradition. Hellborg and Lane assume roles normally taken by the sitar, sarod, vina, sarangi, or other Indian stringed instrument, with Lane also apparently simulating a tamboura (the Indian drone instrument) on occasion. Hellborg shows his respect for the tradition by featuring both vocalist and percussionists throughout the CD -- not a commercial move by any means, given the quavering, non-Western quality of Indian vocals and the intricacy of Indian rhythms. The CD includes several examples of konokol, the vocal "scatting" often used as a memory device by Indian percussionists, which in one piece, "Anchor," is presented as an extended duet (almost a duel) between the two percussionists. (In this piece, the two musicians slip into a funky, syncopated rhythm that actually suggests Al Jarreau or Bobby McFerrin.) When Lane and Hellborg do take their turn in the spotlight, they don't disappoint. Lane's long, sinuous lines (heavy on the sustain) are sometimes double-tracked, creating the illusion of two instruments exchanging riffs, and one of his "voices" sounds very much like a high-pitched violin, which is a common instrument in contemporary Indian classical music. Another of Lane's instrumental voices comes very close to the sound of a lap steel guitar. On "Mirror" he sometimes plays quartertones so skillfully that his origins as a Western guitarist (and a rock guitarist, of all things) are almost totally obscured. Hellborg most often uses his bass as rhythm instrument, complementing Selvaganesh and Umashankar, but he extends himself in short bursts, playing double- and even triple-time in seeming fits of rhythmic exuberance. And he opens "Mirror" with a distorted legato rock riff, giving the piece a thick bottom end not normally found in Indian music but nonetheless strangely appropriate. Hellborg stretches out most on the languorous "Vehicle," where his microtonal note-bending sometimes approximates a sitar at the low end of its range. And on the program's final short piece, "Escape," when Hellborg trades licks with the percussionists at a typically breakneck pace characteristic of the final section of a raga, it's hard to imagine many other bassists who could survive such an encounter, let alone thrive. This CD is a curious but elegant masterpiece, and for sheer virtuosity and soul rivals the very best of McLaughlin's work with the Mahavishnu Orchestra and Shakti. ~ Bill Tilland, All Music Guide
What The Critics Say
The albums that bassist Jonas Hellborg has made with guitarist Shawn Lane and drummer Jeff Sipes (aka Apt. Q-258) have all been an invigorating blend of jaw-dropping virtuosity and immediately accessible melodic and harmonic beauty. Personae is no exception to what has now become a pretty well established rule. As usual, Lane's guitar tends to be the focus of the compositions and takes the lead role in the performances. His style is quite elaborate and "notey," but he rarely places flash over substance -- the joyful lyricism of his playing on " Heretics" is a fine example. Even when the density of his technique threatens to overwhelm the music, as it does on "Rice With the Angels," that very density creates its own interest and its own harmonic identity. Only fellow guitarists will be likely to find every minute of each long composition completely enthralling, but there's no denying both the excitement of his style and the depth of his musical thinking. Then there's Hellborg himself, who rarely chooses an inessential note and never fails to impress with his own amazing technical prowess. Sipe is a sympathetic and intuitive accompanist who never tries to upstage the others. Personae is a worthy contribution to the growing catalog of excellent recordings by this trio. ~ Rick Anderson, All Music Guide
'Good People in Times of Evil'
Release Date 11/10/2000
Tracks 6
Label Bardo
See Album Tracklist and Review
What The Critics Say
Of the many stunningly beautiful albums recorded by bassist Jonas Hellborg, this is perhaps the most consistently lovely. Technically, this is a trio album -- Hellborg is joined by guitar wizard Shawn Lane and Indian percussionist V. Selvaganesh -- and although Hellborg will inevitably be cast as the leader in a setting like this (he's the only one of the three with composition credits on all tunes), there is an admirable equality of presence between the three. Lane is a truly awe-inspiring guitarist, a man who can seemingly play anything that enters his head, and yet who shows remarkable restraint most of the time; Selvaganesh is one of those rare percussionists who manages to blend into the general atmosphere, spinning out virtuoso polyrhythmic passages almost nonstop and yet rarely drawing attention to himself. The overall feel of this album is energetic yet relaxed; there is little or nothing in the way of tonally or texturing forbidding music, and yet all of it is beautiful in a way that challenges the ear. Particular highlights include the lyrical "Aga of the Ladies" and "Bhakti Ras," which was recorded live and features a guest appearance by sarangi player Ustad Sultan Khan. Very highly recommended. ~ Rick Anderson, All Music Guide
What The Critics Say
If you are familiar with the previous efforts of monster electric bass guitarist Jonas Hellborg and electric guitarist Shawn Lane, you're in for a big, and hopefully pleasant, surprise. They've unplugged for this effort, done live in concert at Ragnarpers Garsnas. Hellborg is on acoustic double-neck bass guitar, Lane is on acoustic guitar, and Jeff Sipe (aka Apt. Q-258) plays drums and percussion. The music takes on a definite Eastern Indian raga flavor with a tranquil effect. There are two extended pieces broken up into two segments apiece, both displaying a characteristic effortless flow, patience, and virtue closely associated with the music of Ravi Shankar, Oregon, or Shakti. That is not to say their virtuosity is tamed -- far from it. At over 30 minutes, the first side, called "The House Stands Still," begins with the A section "In the House," peaceful and tonal, Lane's unhurried improvisations at the forefront, with slight percussion accompaniment and a little vocalizing tacked on. A cymbal roll or two washes in here and there, directly segueing to "Outdoors" with intensified cymbal and small percussion informing a 4/4 rhythm. On this track there is less riffing and more interplay from Lane and Hellborg, along with some patented unison playing รก la Shakti. The second side, called "Trances End Here," reverses roles with Hellborg leading and guitar droning. This is a serene journey through Mecca, with near Sephardic, even spatial, cymbal and string overtones. There's more unison development from "Departure" to "Conclusion" as the trio suddenly breaks into an energized pace. Strummed chords in double time from Lane fuel this spontaneous, delightful run to the finish line. If one finds interest in the aforementioned references, it is also likely one will be quite happy with this new phase in this trio's evolution. Those expecting and wanting only the rock loudness these three have displayed before, however, will be disappointed. The stark contrast to prior efforts is so fully realized and convincing, it makes one wonder what they might be up to for their next project. This one is definitely recommended. ~ Michael G. Nastos, All Music Guide
'Aram of 2 Rivers: Live in Syria'
Release Date 1/5/1999
Tracks 6
Label Bardo
See Album Tracklist and Review
What The Critics Say
Jonas Hellborg is the best and most important bassist you've never heard of. He's not important in an "eat-your-peas" sense, either -- not one of these guys whose playing you feel guilty for not enjoying because you know it's supposed to be great. His music, even when it's challenging and exotic, is almost always quite accessible. But you've never heard of him because his highest-profile work has been as a sideman to big-name jazz players like John McLaughlin and Tony Williams, and his solo work has almost all been recorded by small, poorly distributed labels (the exception being The Word, a gorgeous collaboration with the Soldier String Quartet that was released on Island's Axiom subsidiary). No exception to the rule, Aram of the Two Rivers consists of tracks from two concerts Hellborg played in Syria with local musicians, and like so much of Hellborg's work, it's absolutely wonderful. Most of the six tracks begin with Hellborg's unaccompanied acoustic bass guitar, which sounds like a pretty boring prospect unless you' re familiar with his playing. He's then joined on some tracks by ney (flute) player Mased Sri al Deen and on others by violin virtuoso Hadi Backdonas, while various percussion instruments support their melodic exchanges. The result will sound foreign to Western ears, but it takes little effort to enjoy it. Note in particular the lovely bass solo in the middle of "Sham" and the mournful playing of Mased Sri al Deen. This is music of rare beauty. ~ Rick Anderson, All Music Guide
What The Critics Say
Ex-John McLaughlin electric bass guitarist Jonas Hellborg gains considerable notoriety for his flashy style, huge sound, undeniable virtuosity, and monster chops. This recording showcases his trio on various concert dates worldwide, with electric guitarist Shawn Lane and drummer Jeff Sipe in tow. It is Lane who steals the show -- his fluid, exciting, stinging lines need nothing more than a little amplification to get the point across. The power trio acts as Beck, Bogert & Appice wannabes, except that Lane plays perfectly in tune. All the members claim co-writing credit on the six hard-nosed jams. "Heretics" is a heavy metal New Orleans shuffle, with boogie bass and a finger-popping solo from the leader. "Wherever You Walk" has a cool swing funk about it that is undeniably jazzy, featuring Lane's clean, musical, teeth-gritting guitar. Darker rhythms with echoey chords set to loping six/eight rhythm and rock bass signify the developed piece "Space Time Continuum," and the hard funk of "The King's Letter" has the most dizzying, steely guitar licks. A slower funk "Barua a Soldani" cuts Hellborg loose on an extended solo, while the closing title track is another hard rock-funk that stretches the confines of fusion into a vehicle for Lane to dig in a bit more. As much as fusion has grown stale over the years, this trio is pumping some stark vitality into it, keeping it alive. Shawn Lane is the man, and Hellborg has to sit back and marvel at what he's capable of. ~ Michael G. Nastos, All Music Guide
What The Critics Say
The billing implied that Abstract Logic was to be a blowing session, especially given Shawn Lane's performances on the MVP recordings Centrifugal Funk and Truth in Shredding. Surprisingly, this recording tends to be dark, with the players utilizing a fair amount of space. Lane sounds positively demonic on "Serpents and Pigs" and "Throwing Elephant and Wrestling"; however, his intensity is not consistent. He seems to have been going through an Allan Holdsworth stage at this point, which is very disappointing considering he is one of the more original metal/fusion players to have emerged during the '90s. Despite Lane's identity conflict, his playing is demented, original and exciting. From his Cecil Taylor-influenced piano solo "Pluie de Etincelles" to his diverse bass solo "Layla Attar," Lane remains creative and interesting throughout. If he sounds like anybody, it would probably be Michael Manring, although the two seem to have influenced each other. He is obviously comfortable playing a number of different styles and sounds good in all of them. Drummer Kofi Baker (Ginger Baker's son) gets a chance to display his impressive technique on "Put the Shoe on the Other Foot." This is a very good recording, but the Holdsworth sound from Lane is a bit distracting. ~ Robert Taylor, All Music Guide
