Göran Klinghagen,Swedish guitarist and composer, puts experience to experience. He grew up with traditional swedish folk music and further to Jimi Hendrix,Weather Report and more freely interpreted music. He worked with many of the most famous groups and musicians in Scandinavia as Rena Rama with Bobo Stenson and Palle Danielsson,Entra with Anders Jormin,Thomas Gustafsson,and Anders Kjellberg,Hawk on flight,TheVillage band with Stenson, Danielsson,Jan Allan, Joakim Milder among others ,playing in the group existing for 10 years. Klinghagen also have been working with The national Swedish radiojazzgroup with guests as Don Cherry,Django Bates. He also collaborated with norwegian group Masqualero lead by Jon Christensen and Arild Andersen for 1 year.
As a musician he’ve been been touring in most european countries as well as in the USA,Canada,South Africa and Asia.
Göran Klinghagen have made several records in his own name . A Hip Hop with Jon Balke,Palle Danielsson and Jon Christensen(1986 )Time Again with Bruno Raberg and David Wilsczewski (1994),Triometric ,with Leroy Lowe and Christian Spering(1997) Na’s the time with Palle Danielsson,Tomasz Stanko,Lina Nyberg,Anders Kjellberg,Terje Sundby,Lennart Åberg and a stringtrio (2001).Diimst with celloist Ylva Nilsson and drummer Terje Sundby (2002).Triometrik with Sundby
and bassplayer Thomas Markusson (2006). In 2008 a track from Triometrics ,Do you hear the voices that you left behind ,was pick to be a part of double CD Mahavishnu Re-Defined a tribute to John Mclauglin by German record company ESC.
2010 Göran Klinghagen participated in 3 CD releases,Jolly Ride ,ToVeGo Trio Stuttgart-Göteborg,Vilosteg with Triometrik and Open Here ,drummer Anders Kjellberg Trio.
In 2011 and 2012 Klinghagen appeared in concerts at clubs and festivals in Germany, together with trumpeter Joo Kraus, Veit Hübners different combos and he did a concert, solo guitar, and with Uwe Schenk trio of Theater Rampe in Stuttgart.
In Sweden Klinghagen played at Umeå Jazz Festival 2011 with Anders Kjellberg Trio and at the Copenhagen Jazz Festival 2012 also with AKT. Furthermore he toured with Triometrik (2011), Bêches Brew. Klinghagen appeared on the play Bibeln at Göteborgs Stadsteater between October 2011 and May 2012.In 2013 a live -CD will be released with Bêches Brew Big from a tour made in the autumn of 2012. 12-14/4 2013 the band was playing 3 days at Pick'n Mix festival in Göteborg.
Late summer and autumn 2013 concerts and workshops in Germany with the Jazz & More Collective (Stuttgart) and gigs and CD release with Beches Brew Big, Electric no ordinary Kitchen (EnoK) and more .......
In 2014 concerts in Copenhagen during the winter jazz festival with EnoK as well as recording and issuance of Cdn EnoK Duo with Klinghagen and Thomas Gustafsson, saxes
Gig and workshops with Beches Brew and festival gigs during the summer
In the latter part of 2014 workshops and tours in Germany with the Jazz & More Collective, tours with, among others, EnoK in Sweden. During 2015-16 a release of a CD and vinyl with EnoK and a release tour .In addition, preliminary festivalgigs with Beches Brew in India as well as tours and recordings with J & MC in Germany
Göran has participated on records as a sideman with Palle Danielsson (Contrapost),Anders Jormin (Eight Pieces) Lars Danielsson (Time Unit,New Hands)Wind frpm the Sea,Fly free faster with Hawk on Flight,The Zone with Lennart Åberg,Eje Thelin (Raggruppamento) Village band (Live with Lena Willemark ) 2 albums with singer Lina Nyberg,Open and Smile,Ynde with Terje Sundby, to name a few.
Here’s a review from CD Na’s the time by jazzsite Allaboutjazz.com James Nichols,
in many ways describing Klinghagens music and style.
Na's the Time
Goran Klinghagen | Phono Suecia
Swedish guitarist Goran Klinghagen offers a very creative jazz outing on his albumNa’s the Timefor the Phono Suecia label. I assume the title alludes to the famous Charlie Parker blues, but bop is one of the few jazz styles that really doesn’t too heavily inform this album. Klinghagen reevaluates fusion, mid-60s Miles Davis, and Ornette Coleman, melding these and other influences into a unique musical patchwork. Several trends evident in jazz today, such as the ECM sound, Frisell-like country-jazz, and world music are also discernible on this album. A fine guitarist (John Mclaughlin , Pat Metheney, and even rockers like Adrian Belew bubble to the surface when he plays) he sacrifices much of his solo space to the group effort. At times Klinghagen’s group resembles early Weather Report. Composition and improvisation often blur into one another throughoutNa’s the Time. The instrumentation alone, however, makes this album unique. Ten musicians contribute to this album including a cadre of string players. Plenty of jazz albums have used strings to back up a soloist or add sweetness on top of a combo, but on this album the strings are actually paramount to the arrangements. At times they back the lead instruments and at other times they lead the ensemble while hinting strongly at modern classical music ala Kronos Quartet. Klinghagen does not tax the reserve of instrumental talent, however, he uses the musicians as a painter might use a pallet of color. Every instrument plays its part in the arrangement to complement another instrument or add variety to a theme. Choir and strings form accompaniment on “Surinam-nam,” probably the strongest cut on the album. Similar to Flora Purim onLight as a Feather, the flute and voice carry the head. Trumpeter Tomasz Stanko takes the first solo, playing a little bit like Freddie Hubbard. Truly a beautiful head and but one of several songs which recall the early fusion era. Miles’ second classic quintet is intimated on some cuts as well. “Simma Lungnt” in particular recalls the Miles band circaFilles de Kilimanjarosans electric instruments. Other highlights of the album include “Hackan,” where violinist Peter Olofsson improvises over a Bill Frisell-like accompaniment. He evokes many past violin greats during his solo from Stephan Grapelli to Jean-Luc Ponty. On “Milesology” singer Lina Nyberg improvises rhythmically in a voice that actually carries some of the siren-like qualities more often found in folk or world singers such as Lorenna McKennet. Though the performances lean towards minimalist arrangements, a few songs, “Milesology” for instance, utilize a denser ensemble sound. Most of the time, however, Klinghagen emphasizes one instrument or an effective combo from within the ten musicians and is even content to allow a soloist to “stroll” without his accompaniment. Often the lead instruments switch off, solo at the same time, or hit unison passages. “Galven” is probably the most representative and unique piece on the album. Many of the eccentric elements that give the album it’s character can be found on this piece. Beautiful Kronos Quartet-like string passages, Klinghagen’s guitar doing it’s best impression of a Fender Rhodes, ambiguous tonal centers, Ornette Colemanesque strolling of the lead instrument and moody solos from flute and bass.Na’s the Timecapitalizes on many current trends in jazz but also has a thoroughly unique character. At times mellow in an ECM sort of way, usually catchy, and occasionally rocking I hope this album indicates some of the trends in European jazz right now. Contemporary creative music at it’s absolute best.