Press

“One of the most dynamic bandleaders in the New York jazz scene.” -Nick Dunston, Hot House Jazz Magazine

(Salt Wind) is skillfully executed in all ways, well formulated with a clear vision” -Peter Sjöblom, Mono Magazine

“A genuinely personal and original album” –Alexander Agrell, Sydsvenskan

“(Nilsson’s)music is warm with a tactile sense of emotional empathy, without exaggerations.” -Leif Wigh, Orkesterjournalen

“With an under current of healing music running through it that you don’t realize is not only good but good for you, this sprightly, winning set goes the distance with gas to spare.” Midwest Record

“The group plays with tight rhythm and pitch, and Elsa’s music is inventive, mostly spare, and employs extended techniques and interesting ideas.” –Barbara Siesel, The Flute View. Read Full review Here

“She can play the flute, and has a wonderful band that follows her all the way” Jan Granlie- Salt Peanuts

“It was a solidly tantalizing, sensational, captivating experience that I definitely encourage others to hear.” Kai Kiernan from The Daily Targum

“(Salt Wind) is a surprising and very skillfully played CD with great arrangements and variety.” -Joost van Steen, Host/producer Jazz & Blues Tour For Studio Alphen 90.0FM in The Netherlands

“Salt Wind, is a breath of fresh air, amongst a sea of jazz. Each track is uniquely crafted, and diverse from the next one.” – Rachel Hacker, The Flute View

“…the compositions are good, some fantastic, in particular the caressing ballads” – Andreas Lagercrantz Lira Musikmagasin

“Unusual and Fun” Mattias Gustavsson, Ung Tro

“Exciting record” Jan-Erik Zandersson, Universum Noll 

“Elsa Nilsson is my favorite flutist of the Twenty First Century. She just blew my mind playing live with Amanda Ruzza on Som do Brasil at WKCR NY . From Jazz to the Folklore of Northern Europe nothing can stop her; she will go on. Next stop- Brasil!” –-Jassvan DeLima, producer and Host – Som do Brasil WKCR-FM 89.9 NY

“Airy, sensual, flute-led, original jazz compositions, and Swedish folk songs updated with the jazz treatment. A kinder, gentler Jethro Tull” –Edward Burke, Shillelagh Safari with CelticED. www.theradiator.org

“Elsa has a beautiful conception of melody and music.” -Chris Potter

“… so much creativity” -Hubert Laws

“Do you hear that sound from the Northern skies? It’s Elsa Nilsson with something new, passionate and beautiful to say with her flute and her pen. Check out her music and let her light your skies.” -Robert Dick, Acclaimed Flute player and mentor

“Elsa’s sound is strong and she is expanding horizons as a flutist.”-Jovino Santos-Neto

“Elsa’s playing is absolutely gorgeous.”-Karen Pauley, KSER, Seattle

“Elsa Nilsson throws her hat in the ring of improvising flute players on the scene today. With her beautiful, strong tone (especially on the alto flute) and use of extended techniques, interesting lines and well-crafted Swedish-influenced compositions, she has forged a very personal and unique statement with her exceptional bandmates to create a memorable recording.” -Jamie Baum, Jazz flutist and mentor

“The CD is absolutely phenomenal. The writing, the soloing, the orchestration, is right on the money. But what makes the recording special is that it sounds like a real band. The choice of instruments and the orchestration is perfect.” – Tony Moreno, acclaimed jazz drummer and NYU Faculty

 

Full Translation of Swedish Reviews:

“Among wind instruments in Jazz it is not often the flute plays a lead role throughout an entire record. But in Elsa Nilsson’s musical world it does, she plays flute in all sizes and has composed most of the pieces on the album. You can read about her that she was raised in Gothenburg, Sweden with a Californian hippie mother and as a result has one foot on two completely different molds. In her musical world that we meet on “Salt Wind” there are clear influences from folk and world music.

On the album she is joined by Jeff McLaughlin on Guitars, Alex Minier alternating between acoustic and electric bass and Cody Rahn on drums and percussion; musicians who get a whole lot of different expressions to work with in Elsa Nilssons arrangements. Latin, nordic and even pop influences are part of this albums musical life. The flute playing switches between faster rhythmic ideas, sometimes in many layers, and slower painting like strokes. Across from the flute the guitarist gets a lot of solo space, something he takes full advantage of. Elsa Nilsson also sings on a few tracks, among them the rocky “Hedning”, which doesn’t really fit in the context. Other than that most of the compositions are good, some even splendid, particularly the  languishing ballads.”

Andreas Lagercrantz, Lira Musikmagasin

 

“Elsa Nilsson, a well educated musician, features the instrument of the flute in a extremely pleasant way. Her music is warm with a tactile sense of emotional empathy, without exaggerations. She also uses both the alto and the bass flute, in all cases with beautiful results. Of the eight melodies she has composed five. The rest have been pulled from the Swedish song treasure with among others a lovely version of “Byssan Lull” where she herself sings Evert Taubs lyrics. In the subtle emotional storytelling there are silhouettes of melancholy, maybe also regret? Something that is strengthened by her slightly sensual tone on the instrument. By her side she has three skillful musicians where guitarist Jeff McLaughlin pulls the heaviest load. In the fourth melody entitled “Hedning” the drummer Cody Rahn steps forward and drives the music forward, without upsetting the groove. This is a peculiar element where even sings lyrics written together with Elizagrace Madrone. In “Staffansvisan” bassist Alex Minier steps up to the soloist microphone and bows a sublime solo. Something that really brings out that melodies particular qualities. In this piece Elsa Nilsson also plays a gorgeous improvisation that makes the melody even stronger. A beautifully produced album where the flute dominates in both low and high registers.”

Leif Wigh, Orkesterjournalen

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