But you wont find her simply churning out hackneyed jazz standards. Her gently expressive voice and highly personal compositions are firmly rooted in the folklore and the countryside of her native southern Sweden, adding to the mystique and allure of a distinctive and truly original artist.
Mårtensson’s second album, Ana – named after her Slovenian grandmother – is where she pulls together all the many different strings that have illuminated her art.
Here, Mårtensson resumes her fascination with interpreting the songs of others, bringing her own unique vision to compositions by Jamie Doe, Barnaby Keane and Emine Pirhasan. She also pays homage to her great love for 70s pop singer-songwriters like Joni Mitchell and James Taylor.
On Ana, Mårtensson is reunited with bright young UK pianist Barry Green, pushed on by the mellifluous grooves of double-bassist Sam Lasserson, and the subtle rhythmic shadings of percussionist Adriano Adewale. Finally, The Fable String Quartet wraps Mårtensson’s sensitive arrangements in delicately beautiful yet deeply lush swathes.