Norwegian folk musician Sinikka Langeland, singer and player of the kantele (the Finnish table harp) is a distinctly non-traditional traditionalist, redefining "folk" in successive projects. 'Maria's Song' finds her in the company of two distinguished classical musicians - organist Kare Nordstoga and "giant of the Nordic viola" Lars Anders Tomter - and on a mission to restore Marian texts to sacred music, weaving folk melodies in between the timeless strains of J S Bach. Langeland made a lot of friends with her sparkling ECM debut Starflowers: "There are jewels everywhere on this arresting example of ego-free music-making. One of the albums of this or any other year" raved the Irish Times. Where Starflowers brought Langeland into the orbit of jazz improvisers, Maria's Song is a meeting and cross referencing of folk and 'classical' energies, and also a righting of historical 'injustice': Religious folk songs are amongst the most distinctive elements of the Norwegian folk tradition, yet the Virgin Mary rarely appears in them.

From Norwegian folk singer and harpist Sinikka Langeland comes a seductively subtle contemporary jazz album. The lyrics are all Norwegian or Swedish (the sleeve notes have translations), and celebrate the poetry of Edith Södergran and Olav Håkonson Hauge – the first a shortlived pioneer of modern Swedish poetry, the second the Norwegian "lumberjack poet" who came to the art in his 40s. Langeland's band brings together trumpet-player Arve Henriksen and saxophonist/composer Trygve Seim, and it's a magical combination. Despite a predominant feeling of tranquillity, the singer sometimes adds an almost Nina Simone-like bite, for which Seim's smoky sound, Henriksen's ghostly multiphonics and Anders Jormin's bass are ideal foils. The mood is often broken by grooves that suggest some strange fjord-village cabaret music, or episodes that are like Nordic Miles Davis. It's a real one-off.

While the world came to a stop during the pandemic, the three-piece retreated in the studio to write and record upcoming album ‘Drif’. In the band’s fashion, they sought for forgotten songs, made ruffling leaves into instruments and wrote lyrics spreading messages of love for each other and respect for nature. ‘Drif’ will be HEILUNG’s most immersive and successful work to date. In their own words: “Drif means “gathering”. A throng of people, a horde, a crowd, a pack. In symbiosis with the album title, Drif consists of a flock, a collection, a gathering, a collage of songs, that much like little flames were seeking towards each other, to join, to bond, to create, and be greater together. This album has very clearly dictated its own path. Our attempts to tame it was repeatedly fruitless and once we came to this realization, the creative flow surged forward with immense force. So much so that sometimes it felt like the songs wrote themselves. All the songs on Drif have their own stories. They have each their place and sense of belonging, with inspiration not only from Northern Europe, but from the ancient great civilisations.”

Anders Jormin’s new Swedish-Japanese project returns the highly distinctive voice of Lena Willemark to ECM – it’s her first appearance on the label in more than a decade - and introduces koto player Karin Nakagawa. In this trio music the Japanese classical tradition and the stark, archaic sounds of the koto, allied to Jormin’s powerful and subtle bass playing, form a unique context for Lena’s sung poems, delivered in her native Älvdals-dialect. Traditions and non-idiomatic improvising are cross-referenced and new paths opened up in these compositions.

The music of this album is a clear example of the deep-rooted migrational nature of our local existence. It is music of a remote past, marked by radically different life conditions. It is music from distant areas connected by wandering people in search of better life conditions. It is music handed down by word of mouth for a long time and finally documented in written form during the last century. It is music to be recovered, reconstructed and re-contextualized in an ongoing process of searching, appropriating and re-inventing, of sense making at the intersection of a resonating past and today's breathing.

Wolf Rune, a solo album, casts a new light on the highly personal idiom of Sinikka Langeland, kantele player and folk singer from Finnskogen, Norway’s “Finnish forest”. Sinikka integrates her own songs among folk hymns, shamanistic rune songs and traditional dance pieces, draws texts from multiple poetic sources, and expands the expressive range of her instruments. Few artists embody the spirit of place as comprehensively as Langeland, and her music ruminates upon the wildness of the natural world and the interrelationships of its inhabitants. Wolf Rune, recorded in December 2019 in Oslo’s Rainbow Studio, is an absorbing addition to Sinikka’s ECM discography, which has featured critically acclaimed projects including Starflowers, The Land That Is Not, Maria’s Song, The Half-Finished Heaven and The Magical Forest.

In 2022, a year after the release of Kvitravn and as a prelude to the forthcoming live dates, Wardruna are presenting Kvitravn – First Flight of the White Raven; an audio-visual release captured from their lauded, boundary-pushing virtual live experience First Flight of the White Raven of March 26th 2021. This new release captures a special set list consisting of songs from Kvitravn and fan favourites from across their discography.

Influenced by a wide variety of music, Lena Willemark has not been afraid to take chances – and the Swedish folk-pop singer takes her share on Windogur. This introspective effort, recorded in Stockholm in 1999, underscores Willemark's eclectic, unpredictable nature and showcases how many different styles of music have affected her. Swedish folk is her foundation, but Willemark is no purist and liberally incorporates elements of pop and post-bop jazz. In fact, two of the musicians she employs on Windogur – pianist Bobo Stenson and bassist Palle Danielsson – are Swedish jazz musicians who command a lot of respect in European jazz circles. There are also traces of East European and Middle Eastern music on some of the material. As experimental and risk-taking as Willemark is, Windogur never sounds forced or unnatural – all of the selections sound very organic, and Willemark has no problem bringing them to life.

Frifot's self-titled 1999 album shows why they are among the flagship artists in the Swedish folk revival movement, melding traditional instruments like flutes, mandola, dulcimer, pipes, octave fiddle and fiddle with folk and jazz idioms. The trio, which consists of Per Gudmundson, Ale Moller and Lena Willemark, turns in a less jazz-oriented work than their prior albm Nordan. Instead, Frifot brings the folk aspects of the group's vocals and fiddling to the forefront, particularly on songs like "Abba Fader," "Vindlaren" and "Om Stenen."