I’ve mentioned Swedish songstress and multi-instrumentalist marvel Gunhild Carling here more than once before, generally citing her as an example of either a uniquely superb vocalist or a brilliantly talented and imaginative player. And yet, despite repeatedly heaping praise upon her, I’ve never reviewed a single one of Carling’s records. That changes now, with an appraisal of her new album Jazz is My Lifestyle.
The 49-year-old blond bombshell trombonist is perhaps most famous for putting her unique spin on jazz standards, often involving her playing several instruments—and occasionally at the same time. Others will know her Scott Bradlee’s Postmodern Jukebox collabs, in which she has covered the likes of Abba, Madonna, and Rick Astley in a speakeasy style. But believe it or not, there’s more to the Scandi superstar: it turns out Carling is also a capable composer, with eleven of her original numbers packed into this one disc.
It’s a smorgasbord of vintage jazz styles, including a range of tempos which are mostly very danceable. The record kicks off with the title track, a New Orleans-style romp referencing two-tone shoes, victory rolls, and Ford Model Ts while name-dropping standards like “April in Paris” and “Autumn in New York.” It feels part mission statement, part coming out track and part invitation—an anthem for jazz nerds, vintage fashion enthusiasts, and swing dance tragics like me. It’s great to hear a tune as joyful and welcoming as the dance scene is, and I can see it becoming a favorite amongst Lindy hoppers worldwide, before long.
“Shaking the Bangkok” has something a bit nineties swing revival about it, featuring instrumental nods to both “Sing, Sing, Sing” and “Diga Diga Doo.” With big brass hits backing Carling’s throaty growl, it evokes neon zoot suits and hot rod cars. Things slow down with torch song “I Desire You,” inspired by the likes of “Moonlight in Vermont” and “A Nightingale Sang in Berkeley Square,” without borrowing too heavily. It even opens with a harp solo, a novel addition which is sprinkled throughout the rest of the track.
“Your Smile Makes the Difference” is a cute tune which sticks closer to its obvious (to my ears) inspiration. The chord sequence isn’t identical—but you just try singing “When You’re Smiling” over the middle section and you’ll find that it fits pretty well. “Fire Alarm” is, I suspect, an homage to “Congeroo”: the whiplash-inducing tune from that scene in Hollywood classic Hellzapoppin’ featuring Slim and Slam, Frankie Manning, and the Harlem Congeroo Dancers. It’s a tasteful tribute (if I’m right) and another one that’s sure to please Lindy hoppers the world over.
“Chanson” is a cool and contemplative track, but plenty pacey enough for dancing. Reminiscent of Herb Alpert or Lalo Schifrin, it could easily have featured in a sixties spy thriller. Carling’s trumpet is beautifully, quiveringly mournful, like a bee trapped in a milk bottle (in a good way). “Mardi Gras Blues” is another one leaning into the neo-swing aesthetic à la Royal Crown Revue and Big Bad Voodoo Daddy, with close harmony vocals reminiscent of Christina Aguilera’s “Candy Man” hit. And is that a jazz penny whistle solo…?
“Cosmic Drive” is another cool number, touring the solar system and taking a theremin along for the ride. “Winter’s Day” gives “Strangers in the Night” vibes, but with a festive lyrical theme—listen out for that one at your next Christmas swing dance. “You Are the Music” forms a clever bookend to the album, which began with Carling declaring that music is her life and ends with her confessing that the music is, in fact, you. It’s a delightful Rat Pack-like number with “Fly Me to the Moon” energy and a tip of the hat to music nerds, declaring: “You’re the melody, the bass and the orchestration / The key change, the rearrange and the harmonisation.”
“I’ll Wait For You In San Francisco” acts as both an encore and a showstopping showcase of Carling’s many talents. She’s played several times for the King of Sweden, and this number more than any other illustrates why. Opening with a regal fanfare, it transitions to a cute ukulele and piano duet before coming back full force with orchestral arrangement, strings and flutes galore. Well worth a standing ovation, it shows why Carling keeps getting the big gigs: she’s simply A-list.
Thanks to high-profile appearances on TV, online and on the jazz world’s biggest stages, Carling enjoys a level of celebrity known by very few swing musicians since the Swing Era. She is as close to contemporary swing royalty as it gets: in the pantheon of pre-bebop jazz stars, history will surely rank her alongside Ella, Louis, and the Duke as a singer, player, and composer—and this record is even more reason for such an accolade. It comes out on the Jazz Art label in September. Look for it in all good record shops, buy it from Carling’s website or stream it on Spotify now.
Jazz Is My Lifestyle
Gunhild Carling
gunhildcarling.net
