Deutschland Radio´s Michael Engelbrecht´s top 22 albums of 2023

01. P.J. Harvey: I Inside The Old Year Dying
02. Fire! Orchestra: Echoes
03. Natural Information Society: Since Time Is Gravity
04. Mette Henriette: Drifting
05. The Necks: Travel
06. Modern Nature: No Fixed Point In Space
07. Palle Mikkelborg / Jakob Bro / Marilyn Mazur: Strands
08. Jan Bang / Eivind Aarset: Two Last Inches Of Sky
09. Roger Eno: The Skies, They Shift Like Chords
10. Lankum: False Lankum  
11. Brian Eno: Top Boy (O.S.T.)
12. Craven Faults: Standers
13. Sylvie Courvoisier: Chimaera
14. Thandi Ntuli with Carlos Nita: Rainbow Revisited
15. Paul St. Hilaire: Tikiman Vol. 1
16. Rickie Lee Jones: Pieces Of Treasure
17. The Gurdjieff Ensemble: Zartir
18. Arooj Aftab / Vijay Iyer / Shahzad Ismaly: Love In Exile
19. Alabaster DePlume: Come With Fierce Grace
20. Blur: The Ballad of Darren
21. Wilco: Cousin
22. Nitai Hershkovits: Call On The Old Wise

Hamid Drake´s Turiya at Umeå Jazz Festival

Reviewed by Johan Hauknes (Salt Peanuts)

Flott hyllest til en stor musiker
For jeg har allerede bestemt meg lang tid i forveien, jeg vil avslutte kvelden med å få overvært hele konserten med Hamid Drake’s Turiya (hovedbildet). En hyllest til Alice Coltrane, som også tok navnet Turiyasangitananda. Om det var noen som tok den spirituelle jazzen til sin ytterste konsekvens, så var det vel Alice McLeod, seinere Coltrane.

Jeg har hittil aldri fått høre musikken i sin helhet, kun brokker i et løp for å dekke mest mulig. salt peanuts* har dekket det hele, under Oslo jazzfestival og som del av Tampere Jazz Happening, begge i 2022. Begge deler av redaktør Jan Granlie. For av en eller annen grunn har dette gått sin seiersgang på festivaler gjennom Europa. Men ennå ikke i nærheten av meg på en jazzklubb. Merkelig nok.

For det er et fyrverkeri av en forestilling. Med en feiring av både Alice Coltrane, men også av Don Cherry: Hamid Drake gir Magnus Nygren en tommel opp og stor honnør for sitt arbeid med en Don Cherry-biografi.

«May there be peace and love / for all creation!». Må spirituell energi fylle alle! Med Ndodo Ange på spoken words og dans, Sheila Maurice-Grey på trompet og flygelhorn, Jan Bang på live remix. Bang og vi danser, mens vidunderlige Pat Thomas dukker ned i pianoets underliv og skaper flott musikk. Pascuale Mirra på vibrafon og perk, og en bassist som utrolig nok akkurat har passert 60, Brad Jones, spiller stor musikk.

Og så, the Preacher’s Son, Hamid Drake på trommer, vokal og rammetromme. For det er det han er, denne fantastiske trommeslageren fra Chicago (vel, egentlig fra Louisiana), han er selv en preacher, en predikant, som sin far. Han prediker med sin stemme, sine ord, og med sine hender og føtter. Med sitt hjerte! For du er aldri i tvil når du lytter til Drake: Dette mener han, inderlig: Han ikke bare tror at musikk kan gjøre hel, kan hele. Nei, han vet det! Og han overbeviser oss.

Jeg kom til konserten med et indre spørsmål til meg selv, om jeg ville greie, om jeg hadde krefter til, å gjennomføre mitt mål om å overvære hele konserten. Ettersom konserten skred fram, fylte musikken meg med energi og krefter. Hadde noen lagt merke til det, er jeg helt sikker på at ganglaget mitt var vesentlig annerledes og mer energisk, etter konserten enn før.

Igjen viser det seg altså hvor viktig musikk er, dette totalt ikke-målbare fenomenet, som for de som teller alt og tror verdens lykke ligger i det, anser som unyttig, bortkastet, som en unødvendig frititdsaktivitet. Hvor feil de tar! Hvor lite de har forstått! Måtte det finne en eller annen naturenergi, eller åndelig kraft, som kan vise dem hvor feil de tar. Hamid Drake aspirerer sterkt til den rollen.

Det er derfor i betraktelig oppløftet stemning vi trekker oss tilbake etter dette, før vår reise gjennom denne årlige natten som er forlenget med en time. Før jeg gjør meg klar til hemresandet fra Umeå til Oslo, nesten 1200 kilometer med tog.

Noen ganger er det helt all right!

Jeg gleder meg! Umeå, vi ses igen!
 

Tekst: Johan Hauknes
Foto: Gustav Karlsson Frost — ©Gustav K. Frost 2023.

Bang / Aarset - "Last Two Inches of Sky" at Rome Jazz Festival with Audun Erlien (bass), Samuel Rohrer (drums) and Sven Persson (sound engineer). Photo: Sven Persson

After the Wildfire

Reviewed by Vincenzo Fugaldi

The opening of the festival was entrusted to the first performance of an ambitious work: the Fame's Institute Orchestra, one of the most interesting projects in the music sector financed by the European Union in North Macedonia, performed After the Wildfire, a composition by the Norwegians Jan Bang and Arve Henriksen, arranged for orchestra by Dzijan Emin, who also conducted it on the occasion, with the presence of the Norwegian percussionist Ingar Zach. The composition was divided into eight movements written for trumpet, sampler, percussion, kaval (small wooden flute of the Balkan tradition), zurna (Middle Eastern ancestor of the oboe) and voices. A sort of journey into the territory of the third stream, essentially a concert for trumpet and orchestra, with the solo parts essentially weighing on Henriksen's trumpet and trumpet, with his characteristic fluted timbre, very fine and delicate, which rested magnificently on the large string section. An ambitious and engaging work, evocative and austere, embellished with three female voices and that of the trumpeter himself. A beautiful wild and liberating folkloric insert with the characteristic sounds of kaval and zurna, and Bang's precious work on electronics, together with Zach's great percussion skills, contributed to the success of the festival's original production.

Last Two Inches of Sky

Review in Salt Peanuts by Jan Granlie (in Norwegian)

Last Two Inches of Sky er, ifølge presseskrivet «en ambisiøs og engasjerende blanding av sonisk maleri og art-pop». Gitaristen Eivind Aarset og electronica-mesteren Jan Bang har samarbeidet siden tidlig på 90-tallet i konstellasjoner med blant andre Nils Petter Molvær, Bugge Wesseltoft, Sly & Robbie og Jon Hassell. Snow Catches on her Eyelashes fra 2020 var deres første innspilling som duo, og Last Two Inches of Sky utvider dette soniske universet. I likhet med forgjengeren er den nye innspillingen en blanding av stiler, knyttet sammen av Jan Bangs kjennetegnende samplingsteknikk og Eivind Aarsets kontinuerlige utforskning av gitaren. Rytmeseksjonen med Audun Erlien (bass) og Anders Engen (trommer) er viktige elementer på de fleste sporene, og arrangementene forsterkes av gjester som Gianluca Petrella (trombone), Adam Rudolph (perkusjon), Emanuel Birkeland-Bang (trommeprogrammering) og Erik Honoré (synthesizer, treatments og miks).

For den som har sans for den musikken man forbinder med Punkt-festivalen i Kristiansand, bør låne ett par ører til denne musikken. Og det er nesten så man sitter i en god stol i Agder Teater og er med på en konsert med disse musikerne, når man lytter. Og jeg synes de gjør seg spesielt godt i andresporet «Legion» hvor Nona Hendryx dukker opp med sin vakre vokal (hvor Honoré har skrevet teksten).

Det å sette seg ned med en utgivelse med disse musikerne krever at man demper lyset, lukker øynene og tar de vekslende stemningene til seg med åpne ører. For musikken skifter fra låt til låt, men hele veien er det «lyttemusikk», selv om jeg er sikker på at Bang danset seg gjennom hele innspillingen bak alle elektroniske remediene han trakterer. Og hele veien er det vakker, elektronisk musikk vi får lytte til. Aarsets gitarspill ruver gjennom hele albumet og Bangs live remix, synther og andre elektroniske dippedutter gir et fantastisk fint landskap Aarset kan boltre seg i. Og når de i tillegg har et av verdens stødigste komp, forsterket med perkusjonisten Adam Rudolph, pluss sampling både fra Bergensbandet Building Instruments og Arve Henriksen, så er det ikke annet å vente, enn at det blir deilig musikk.

Jan Granlie

World Premiere of After the Wildfire

JAN BANG & ARVE HENRIKSEN “AFTER THE WILDFIRE” with FAME’S INSTITUTE ORCHESTRA & DZIJAN EMIN

Nenad Giorgevski´s brilliant review of the world premiere performance at Skopje Jazz Festival, October 2023:

"After the Wildfire" demonstrated a level of artistry and craftsmanship that was not hastily thrown together but carefully considered. It showcased the remarkable skills and emotional depth of the musicians involved, creating a rich and textured sonic landscape that captivated the listener from start to finish."

 

The 42nd edition of the Skopje Jazz Festival opened in exquisite fashion at the National Opera and Ballet with the world premiere of "After the Wildfire," a composition specially commissioned for this occasion. This piece, a musical collaboration between acclaimed Norwegian jazz musicians Jan Bang and Arve Henriksen, conducted by Džijan Emin, set the stage for what was to come during the festival.

"After the Wildfire" turned out to be an innovative work, a suite consisting of 8 parts written for trumpet, samplers, orchestra, percussion, kaval, zurla, and vocals. It's a symphony of diverse elements, and during the evening, the authors themselves, Jan Bang and Arve Henriksen, stood as soloists in the limelight. Joining them were Norwegian percussionist Ingar Zach, the FAME’S Institute orchestra, as well as several renowned Macedonian vocalists and kaval and zurla players.

Jan Bang, a prominent Norwegian musician, composer, and producer, best known as the artistic director of the renowned Punkt Festival, once again demonstrated his reputation. This marked his fifth performance at the festival over the years, starting as part of Nils Petter Molvaer’s band that closed the SJF Festival in 2003. This time he was joined by the fantastic Arve Henriksen, the master of the trumpet with a unique and individual sound, with whom Bang also performed at the SJF Festival in 2009, sharing the evening with the late great Jon Hassell (Bang was also part of his band).

The work had a long, introverted introduction, gradually building up the drama and pace, keeping the audience engaged in hushed anticipation. It created an ethereal and ambient atmosphere, beautifully supported by a backdrop of subtle harmonies from the orchestra, and delicate percussions by Ingar Zach. It was akin to cinematic music, with Arve's trumpet echoing like the wind. The orchestra's presence grew more pronounced, and Bang's understated samples and sounds added an extra layer of depth to the composition. Arve's trumpet played harmoniously with the kavals, and the orchestra entered with soft harmonies. The addition of Vera Miloshevska on vocals, of Ljuboyna fame, including her students, created a captivating atmosphere.

Arve Henriksen's performance throughout the album was a standout. His pacing was impeccable, every note he played carried profound emotion, and his ability to exercise restraint when needed added a unique dimension to the music. One of the remarkable aspects of this performance was the constant variation in the combination of musicians, tailored to meet the diverse textural and expressive requirements of each piece. This flexibility and adaptability showcased the remarkable talent and collaboration between the artists, all under the baton of Džijan Emin.

Even though there were quiet and introspective moments, the music was arranged in different stages, each with its own character. There were dynamic moments that reached a crescendo, transitioning into a cacophonous blend of zurla, drums, and vocal yells, where Arve Henriksen playfully teased both the orchestra and the audience. This section was a joyous and unexpected contrast to the otherwise introspective atmosphere. Henriksen even engaged in duets with other instruments in the orchestra, like the oboe or the female vocals. I particularly liked his improvisation at the end of the performance when he encouraged the traditional percussionist on the tapan to join him.

The overall impression of "After the Wildfire" was that of atmospheric ensemble work. Bang, Henriksen, Zach, while all accomplished in their own right, mostly played a coloristic background role, contributing to the overall tapestry of sound. This approach created a layered and immersive listening experience, where every element served a purpose in the intricate musical mosaic.

In summary, "After the Wildfire" demonstrated a level of artistry and craftsmanship that was not hastily thrown together but carefully considered. It showcased the remarkable skills and emotional depth of the musicians involved, creating a rich and textured sonic landscape that captivated the listener from start to finish.

-Nenad Giorgevski 

Best albums of the year list by Michael Engelbrecht of Deutschland Radio:

01. P.J. Harvey: I Inside The Old Year Dying *****
02. Fire! Orchestra: Echoes *****
03. Natural Information Society: Since Time Is Gravity *****
04. The Necks: Travel ****1/2
05. Paul St. Hilaire: Tikiman Vol. 1   ****1/2
06. Nitai Hershkovits: Call on The Old Wise ****1/2
07. Mette Henriette: Drifting ****1/2
08. Jan Bang / Eivind Aarset: Two Last Inches Yof Sky ****1/2
09. Lana Del Rey: Did You Know That There‘s A Tunnel Under Ocean Blvd. ****1/2
10. Brian Eno: Top Boy (O.S.T.) ****1/2
11. Lankum: False Lankum ****1/2
12. Craven Faults: Standers ****1/2
13. Wilco: Cousin ****
14. Roger Eno: The Skies, They Shift Like Chords ****
15. Alabaster DePlume: Come With Fierce Grace ****
16. Modern Nature: No Fixed Point In Space ****
17. Rickie Lee Jones: Pieces Of Treasure ****
18. Califone: Villagers ****
19. Muthspiel / Colley / Blade: Dance Of The Elders ****
20. Aksak Maboul: Une Acenture de VV (Songspiel) ****
21. Josephine Foster: Domestic Sphere ****
22. Seb Rochford & Kit Downes: A Short Diary ****
23. Blake Mills: Jelly Road ****
24. Nils Økland / Sigbjorn Apeland: Glimmer****

Four star review in British Jazzwise October issue

LAST TWO INCHES OF SKY

Eivind Aarset and Jan Bang: Last Two Inches of Sky

Rating: ★★★★

Author: Tony Benjamin

View record and artist details

When it’s good, listening to jazz electronica can be like one of those high-end tasting menus offering a cavalcade of original tasting morsels. Intelligent and creative sound design might serve up a compellingly resonant plonk, a hollowed-out whoosh, a grumbling murmur… sounds to be savoured for their freshness and judgement. Eivind Aarset and Jan Bang are, without doubt, master chefs in this respect and this latest album offers a rich diet of synthetic musical texture and tone.

Across eight tracks, the music ranges from the uber-machine war game soundtrack of ‘Minute Warning’ to the Bowie-esque electro-ballad of the title track (sung beautifully by Sweet Billy Pilgrim's Tim Eisenberg, it later returns as a transformed instrumental). The guest vocal appearance of soul-jazz veteran Nona Hendryx on ‘Legion’ proves an excellent pairing of her world-weary exhortation with a shuffling electro-pop/reggae back beat topped by Gianluca Petrella’s Studio One trombone.

Throughout ‘City Never Sleeps’ there’s a muffled reggae party going on next door while abstract sonics meander in the foreground. Eventually it does fall asleep, only to be rudely awakened by the multi-layered polyrhythms of ‘Seraphine’ which follows.

It's all carefully crafted stuff, as you would expect from Aarset and Bang, with each track’s clear identity enhanced by faultless sound design and pin-sharp production and the whole distinguished by Michelin Star-worthy tastefulness.

Last Two Inches of Sky

- Tony Benjamin, Jazzwise

Albums of the year