"She has that big extra!
This is more than just jazz, this is music. Damn good music!"
The Papillon (extended with remixes) 2022
Peace Play 2011
REVIEWS
The Papillon
ALL ABOUT JAZZ
Songwriting often provides a sense of exploration and self-discovery which is not as present in other art forms. We can easily express our thoughts with words but something extraordinary happens when we add music to the mix as well, and that is certainly the case with Swedish pianist and composer Vidya-Liselotte Sundberg. Her album The Papillon gave her an opportunity to examine and come to understand some of her most profound and heartbreaking experiences.
Vidya grew up surrounded by music. Since her childhood, she was fascinated by albums from her father's collection, by artists such as The Beatles and Abba. Later, she discovered artists such as Michael Jackson and Joni Mitchell. The intricacies and melodic structure of these popular artists ultimately helped her establish her own distinct sound.
Vidya found something of herself in the music she heard, but there was also something missing. She always hoped to someday meet her biological mother. After years of searching, she located her mother in India and finally got the opportunity to connect. While this was a high point in Vidya's life, they only got to spend a short time together. Unfortunately, her mother died during a pilgrimage in the Himalayas. The Papillon, Vidya's second album, is an expression of the emotional extremes she went through during the process of discovery and loss.
The Papillon features Vidya on keyboards and vocals, Putte Johander on bass, and Jon Fält on drums. This core group is supported by guest musicians, Markus Ahlberg on trombone, trumpet, and background vocals, along with Lisa Rydberg on violin and viola.
The music here is satisfying on every level. The influences of jazz, pop, folk, and world music are present but these are unique original compositions. Reflecting Vidya's own experiences, the compositions provide a broad variety of emotions. Some are introspective while others are almost playful. However, throughout them all there is an underlying sense of optimism and hope. "Change the World," the opening track, exemplifies this and sets the tone for the entire album. There is a tight groove and cool Indian-inspired melody which serve as a foundation for the uplifting lyrics. It is difficult not to be moved by the music and Vidya's powerful vocal delivery.
Each of the songs on The Papillon is beautifully crafted. Some, such as "The Reason" and "Michael," are radio-friendly songs, each with a rich melodic structure. Songs such as "Residence Gold" and "The Papillon" also feature beautiful vocal harmonies. Although these songs seem traditional in some aspects, there is an edgy quality which gives them a unique appeal.
The Swedish songs, in general, tend to be somewhat more experimental, but they are still quite accessible. These songs also seem to capture an emotional power and vulnerability which comes across even for listeners who do not understand a word of the Swedish language. Vidya has an openness and honesty in her voice that conveys a meaning which goes beyond the words.
Papillon is, of course, the French word for butterfly, and Vidya uses the title as a metaphor for the changes she experienced as she searched for and ultimately located her mother. Her experience can easily connect with many listeners. Humans are creatures of change, and a great deal of our energy is spent trying to deal with the changes life presents. Perhaps Vidya's experience can help us on our journey.
OJ - TIDNINGEN JAZZ
Det här är den andra skivan från sångerskan, musiker,kompositören och producenten som bland annat samarbetat med Georg Riedel. Att budskapet har en oerhörd laddning genomsyrar hela produktionen. Bakgrunden är den att den adopterade artisten längtade efter sin biologiska mamma Shanta i Indien, lyckades leta rätt på henne för att en tid tillsammans vara med om att hon avlider. Upplevelsen och saknaden ansätts på albumet i tio diversifierade melodier. Musikens seriositet, attack och känslosvall går sannerligen inte att ta miste på.
Till kreativa kompanjoner utses rytmnkonstnären Jon Fält samt Putte Johander på främst kontrabas. Den sistnämnda, för mig doldis, ingår i bandet Lekverk.
Gästar gör en annan favorit från kammar- och folkmusikområdet med föredömlig inverkan, nämligen riksspelman Lisa Rydberg samt på blåsinstrument Markus Ahlberg.
Vidyas passionerade och starka röst framför egna texter både på engelska och svenska.
Öppnande singeln Change the world vistas I högenergisk miljö med smattrande beat, signerat Fält. Sound och sång leder tanken till Mapei eller Neneh Cherry. Flera hook-baserade kompositioner bygger vidare på samma inriktning medanandra går motsatt väg, genom att experimentera eller ta ner tempot. Tillägnar mig lustfyllt ett hängivet, dynamiskt och komplext album, inbäddat i påträngande rytmer långt bortom sedvanlig jazz. Och dominanten Jon Fält befinner sig ständigt i zonen och anför makalöst samspel
REVIEW FROM SALT AND PEANUTS - NORWAY
Peace Play
(ur Dagens Nyheter som gav 4/5 till VIDYAS debutskiva)
(Ur Joyzine som gav 4/5 till VIDYAS debutskiva)
PEACE PLAY är en lekfull och annorlunda platta av hög klass. Vidya, bosatt i Sverige men med ursprung i Indien, har med sin första soloskiva skapat en originell samling låtar av popjazzig karaktär. Lekfullheten i den starka rösten påminner mycket och Kate Bush och Vidya själv säger sig influeras av bland annat Joni Mitchell.Vidya blandar med stor konstnärlig finess olika genrer som jazz, ska och pop. Utan att det blir krystat mixar hon engelska och svenska, distad bas och blås. I låten Planeter närmar hon sig sångkvalitémässigt Regina Spektor, men utan att någonsin kopiera. Vidya kör sin egen grej och hon gör det bra. I outrot av spåret On My Way, när låten kommer igång och Vidya lekfullt sjunger ikapp med fiolerna, har hon stora likheter med Imogen Heap."Peaceplay" är en genomarbetad och smakfull skiva som bygger på dynamik och stor yrkesskicklighet. Vidyas egensinniga och säkra röst bär, och gör, hela produktionen.