Biography
Although Kebnekaise never attained the enduring recognition or devoted following enjoyed by their peers Träd, Gräs & Stenar, this primarily instrumental ensemble played an equally vital role in shaping Swedish folk-rock. Within the broader Swedish progressive scene they occupied a middle ground between its politically driven wing, centered on message-oriented material, and its more musically exploratory counterpart, which shared greater affinities with the international progressive rock landscape. Refraining from explicit political statements, and proving less experimental than Träd, Gräs & Stenar while avoiding the fusion leanings of Samla Mammas Manna, the group succeeded in attracting a sizable listenership. Toward the close of the 1970s, however, Kebnekaise pivoted to symphonic rock and promptly saw their popularity erode.
Guitarist Kenny Håkansson served as the central creative force behind Kebnekaise. During the 1960s he and drummer Pelle Ekman performed together in T-Bones and in a subsequent outfit that eventually became known as Baby Grand Mother. In 1969 Håkansson, Ekman, and bassist Bengt Linnarsson were enlisted as the new rhythm section for Hammond organist Mecki Mark, thereby forming his group Mecki Mark Men. Following a tumultuous American tour alongside Sly and the Family Stone in 1971, Mark departed; guitarist Rolf Scherrer was then added, and the reconfigured ensemble adopted the name Kebnekaise—after Sweden’s tallest peak—launching a mainly instrumental rock outfit in the vein of Hendrix and Cream that issued its debut album, Resa Mot Okänt Mål, the same year. For the follow-up recording the band incorporated six additional musicians: guitarists Glenngård and Böckler, percussionist Hassan, harmonica player Lindström, and drummer Netzler. Bassist Göran Lagerberg, formerly of Tages in the 1960s, soon joined as well. Whereas the first album had drawn from blues-rock, the second, self-titled release moved further from those roots into folk-rock, albeit a distinctly Scandinavian variant—melodic, often sentimental, and largely cast in minor keys. Although Kebnekaise sampled numerous styles, it was this folk-rock approach that ultimately brought them widespread acclaim.
Amid extensive touring, the band delivered its third album, Kebnekaise III, which displayed stronger jazz leanings than its predecessors while also incorporating African elements introduced by percussionist Bah, an immigrant from Guinea-Bissau. The entire fourth album focused on African music, yet by the time of its release half the members had departed, reducing Kebnekaise to a five-piece. In the ensuing years this attrition persisted both in personnel and in musical direction. Elefanten appeared in 1977; despite its title evoking Africa, the record was chiefly a jazz-rock effort marked by overt fusion tendencies, with both African and Swedish folk elements nearly absent. Thereafter Håkansson exited to pursue a solo career, taking much of the band’s inventive spark with him. The remaining trio, augmented by drummer Pelle Holm and keyboardist Per Lejring, issued Vi Drar Vidare in 1978—a symphonic rock album that made little impression. Members soon sought other employment, and around that time Kebnekaise disbanded. Glenngård later issued several solo albums and worked as a session musician, notably with ABBA. Bah assembled the Happy Boys, which also included Netzler, before relocating to Finland.
Guitarist Kenny Håkansson served as the central creative force behind Kebnekaise. During the 1960s he and drummer Pelle Ekman performed together in T-Bones and in a subsequent outfit that eventually became known as Baby Grand Mother. In 1969 Håkansson, Ekman, and bassist Bengt Linnarsson were enlisted as the new rhythm section for Hammond organist Mecki Mark, thereby forming his group Mecki Mark Men. Following a tumultuous American tour alongside Sly and the Family Stone in 1971, Mark departed; guitarist Rolf Scherrer was then added, and the reconfigured ensemble adopted the name Kebnekaise—after Sweden’s tallest peak—launching a mainly instrumental rock outfit in the vein of Hendrix and Cream that issued its debut album, Resa Mot Okänt Mål, the same year. For the follow-up recording the band incorporated six additional musicians: guitarists Glenngård and Böckler, percussionist Hassan, harmonica player Lindström, and drummer Netzler. Bassist Göran Lagerberg, formerly of Tages in the 1960s, soon joined as well. Whereas the first album had drawn from blues-rock, the second, self-titled release moved further from those roots into folk-rock, albeit a distinctly Scandinavian variant—melodic, often sentimental, and largely cast in minor keys. Although Kebnekaise sampled numerous styles, it was this folk-rock approach that ultimately brought them widespread acclaim.
Amid extensive touring, the band delivered its third album, Kebnekaise III, which displayed stronger jazz leanings than its predecessors while also incorporating African elements introduced by percussionist Bah, an immigrant from Guinea-Bissau. The entire fourth album focused on African music, yet by the time of its release half the members had departed, reducing Kebnekaise to a five-piece. In the ensuing years this attrition persisted both in personnel and in musical direction. Elefanten appeared in 1977; despite its title evoking Africa, the record was chiefly a jazz-rock effort marked by overt fusion tendencies, with both African and Swedish folk elements nearly absent. Thereafter Håkansson exited to pursue a solo career, taking much of the band’s inventive spark with him. The remaining trio, augmented by drummer Pelle Holm and keyboardist Per Lejring, issued Vi Drar Vidare in 1978—a symphonic rock album that made little impression. Members soon sought other employment, and around that time Kebnekaise disbanded. Glenngård later issued several solo albums and worked as a session musician, notably with ABBA. Bah assembled the Happy Boys, which also included Netzler, before relocating to Finland.
Albums
