The talented Norwegian singer Karin Krog sings standards and her own "Blue Eyes" on this enjoyable collaboration with tenor saxophonist Dexter Gordon. Krog, a versatile vocalist, sounds perfectly at home on such tunes as "Some Other Spring," "How Insensitive," "Jelly, Jelly," and "Shiny Stockings." Dexter is in excellent form (he had lived in Europe at that point for eight years) and the group is completed by pianist Kenny Drew (who switches to organ on "Blue Eyes"), bassist Niels Pedersen, and drummer Espen Rud. This is one of the most accessible Karin Krog releases around and is recommended.

Originally released in 2003 Where You At? puts Scandinavian jazz chanteuse Karin Krog in front of an aggressive modern jazz trio led by drummer Steve Kuhn. The resulting tension brings both players and singer out of their respective comfort zones, making this collection of originals and standards a most enjoyable, vibrantly listenable set.

At various times in his long career, saxophonist, composer, playwright, and educator Archie Shepp has been regarded as a musical firebrand, cultural radical, soulful throwback to the jazz tradition, contemplative veteran explorer, and global jazz statesman…

Not overwhelmed with the song now playing on this album? Be patient, the next track may be something more to your liking. This album is a musical smogarsboard of songs cutting across a variety of vocal genre. The play list runs from the traditional "Sometimes I Feel like a Motherless Child," through Hoagy Carmichael's ultimate standard "Stardust" through John Coltrane's poem-song "A Love Supreme" with a little of 1960s popsters Jerry Leiber and Mike Stoller thrown in. It would be unkind to say that the singer is simply trying out everything until she finds something she does well. Not so with Karen Krog, one of the finer and more inventive jazz singers of the last three decades. One on One is a compilation of three different recording sessions Krog made as part of a duo performances…

Although Karin Krog was born in Oslo and grew up in a country where Norwegian is the primary language, she is a shining example of how effectively a Scandinavian vocalist can sing English-language jazz. Raindrops, Raindrops, a best-of CD that spans 1966-1985, paints a consistently attractive picture of Krog's artistry. Assembled by a German label called Crippled Dick Hot Wax, this collection shows Krog to be an adventurous, risk-taking improviser who brings an intriguing variety of influences to the table - Sheila Jordan, Betty Carter, and Jeanne Lee have affected her work, but so have less abstract vocalists like Billie Holiday and Dinah Washington. Krog favors an inside/outside approach (usually more inside than outside), and the Norwegian improviser is as convincing on Herbie Hancock's "Maiden Voyage"…

Karin Krog is one of Europe's leading jazz singers with a career stretching back to the 1950s. She is a unique song artist with a great international reputation possessing her own recognizable style and voice. Her constant creative approach towards contemporary jazz has never been bound by tradition, even though her music bears a deep respect for its forms. Karin is equally at home with jazz standards, blues or electronic experimental techniques. Originally released by Sonet Records this reissue of a 1966 session features an all-star line-up. A young Jan Garbarek is featured on two tracks and the stellar rhytm section is made up of Kenny Drew on piano, Niels Henning-Orsted Pedersen on bass and Jon Christensen on drums.

By the time Karin Korg made "Gershwin with Karin Krog", from late 1973 to mid-1974, she had been making records for ten years. Indeed, her very first session, from November 1963 included two of the musicians to be heard here; pianist Egil Kapstad and drummer Jon Christensen. We also hear tenor saxophonist Bjarne Nerem and ECM bass legend Arild Andersen. This album marks the earliest occasion on which Karin set out to make a complete album devoted to a single composer.

By 1968, Norwegian jazz singer Karin Krog was already an international star. She had already won her country's most prestigious jazz award, the Buddy, had performed in the U.S. with Claire Fischer and Don Ellis, and had won a Talent Deserving Wider Recognition award in the 1966 Down Beat poll. She had also recorded three albums under her own name by this time. The recording of Joy with then-young lions Arild Andersen on bass, Svein (Jon) Christensen on drums, saxophonist Jan Garbarek, pianist Terje Bjorklund and percussionist Espen Rud signified a change in direction, from her previously straight swing and bop performance method…

Recorded for Polydor, six years after her landmark Joy album, this set features Norwegian jazz iconoclast Karin Krog in the electric company of keyboardist Steve Kuhn, drummer percussionist Jon Christensen, and Steve Swallow on one of his early electric bass dates. More song-oriented than her other vanguard dates, We Could Be Flying still showcases the singer in a restless, searching frame of creativity. Obviously influenced by the work Flora Purim had done with Return to Forever and the heyday of jazz-rock fusion, Krog nonetheless puts her indelible stylistic stamp on all the material here…