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Nils Petter Molvaer: Concert offer 2012Jazz Network | Agency proposals | 2012-02-04 |
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Line up: Johnny Skalleberg, sound CD BABOON MOON OUT NOW Available for festivals and clubs 2012 For booking enquiries please contact Kjell Kalleklev at kjell@kalleklev.no or +4755557630 / www.kalleklev.no A trumpet that knows how to capture both the polar ice caps and the burning desert sand, that can portray surging crowds just as well as total solitude, that loses itself but always finds the way back again… Norwegian trumpeter Nils Petter Molvaer has his own very individual sound, influenced as much by the poetry of Scandinavian nature as by electronic calculation, and last but not least by colleagues like Miles Davis und Jon Hassell. But more than anything else, Molvaer has himself. Listening to him play, it's easy to forget that his instrument is a trumpet.
In order to arrive at this point, he formed a new band. His two fellow players on "Baboon Moon" have come to jazz 'through the back door', as it were. Stian Westerhus is one of Europe's most innovative, and in the meantime most sought-after guitarists. A former member of the post-rock band Jaga Jazzist, he runs the industrial-improv duo Monolithic together with Motorpsycho drummer Kenneth Kapstad. For Westerhus, the electric guitar is not just an instrument: it's a whole orchestra, a creative museum of physical and spiritual possibilities for producing electronic sounds. He manipulates his instrument with every conceivable material and effect, and even produces indefinable sounds by shouting into the strings. Erland Dahlen has played his way into the hearts of alternative-rock fans as drummer of the Norwegian psychoblues band Madrugada. He contributed this deep and earthy but also progressive blues feeling to Eivind Aarset's Sonic Codex Orchestra first of all, and now he brings it to Molvaer's trio. More: www.nilspettermolvaer.info/news/newspage.php NPM was born in 1960 on the little island of Sula (Norway). From an early age his father - jazz clarinettist and saxophonist, Jens Arne Molvær - introduced NPM to jazz, although his musical diet would become increasingly diverse. After playing in school bands and local clubs, he left Sula in 1979 to study music at the Trondheim Conservatory, where he began developing his singular style, and proceeded to gain a reputation as one of Norway's emerging new talents.His remarkable ease in handling the often-contrary conventions of pop, rock, funk, and modern jazz ensured a strong interest in both acoustic and electric music. This chameleon-like ability soon established him as a much sought-after musician in Oslo, which ultimately led to his a colourful and diverse curriculum vitae as a sideman. During his time with acclaimed jazz combo, Masqualero, NPM was introduced to Manfred Eicher, who welcomed him into his prestigious and much-lauded roster. Alongside the three ECM Masqualero releases, NPM recorded many classic studio sessions for ECM with artists such as Robyn Schulkowsky, Marilyn Mazur, Jon Balke's Oslo 13, and Sidsel Endresen. However, NPM wanted to do something different, both in terms of composition, and trumpet technique. More of NPMs bio here: www.nilspettermolvaer.no/revision/index.htm music videos: Links for news, music and more: All About Jazz Baboon Moon review: Please contact us for available dates and for further information. Best regards, Kjell Kjell Kalleklev Management The little red Roster: |
Molvaer's new album "Baboon Moon" marks the self-assured new start of a musician who has already travelled a long way. He began his career in the bands of Jon Christensen and Arild Andersen, but gradually broke out more and more beyond the confines of jazz, starting with his 1997 album "Khmer". His musical journey took him through a wide variety of styles, and he tried out different degrees of abstraction along the way. He experimented together with musicians like Bill Laswell, Sidsel Endresen and Eivind Aarset, and surrounded himself with DJ's and VJ's, but he also worked on his own. His language of expression remained vivid throughout. On his last album, "Hamada", he switched to and fro between very harmonious and extremely brutal passages, while on "Baboon Moon" these two opposite poles blend into a unified whole again.| « previous |
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This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. |
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