Sundaze 1629

Hello, as i noticed yesterday this socalled coup in Turkey was never going anywhere when they failed to cut of the head of the snake. I find it hard to believe these soldiers didn't understand this. Therefore i believe Erdogan is behind this socalled coup in order to further crackdown on any opposition left in Turkey (meanwhile 3000 judges have been suspended, the press has already made impotent) anyone stupid enough to come out in favor of this 'coup' can expect a decade in jail. The West once again prove they just don't understand or care about ruthless dictators, as long as the do their geopolitical bidding.



Today's artist a Norwegian trumpet player, renowned for his distinctive, flute-like sound on the trumpet, inspired by the sound of the Japanese shakuhachi flute. He also sings; his unique wordless vocalising was central to Chiaroscuro, where he often sings in a soprano's range. The control over his head voice is such that in "Opening Image" he could quite easily be mistaken for a woman........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Born in 1968, Arve Henriksen studied at the Trondheim Conservatory from 1987-1991, and has worked as a freelance musician since 1989.

Henriksen was educated on the Jazz program at Trondheim Musikkonservatorium and later studied music pedagogy, while he played in «Bodega Band» (1987–88), «Luft» (1987–89), «Veslefrekk» from 1989, «Close Enough» 1990-92, «Nutrio» from 1990, and recorded with Bjørn Alterhaug and «Tre Små Kinesere» (1990). After graduating in 1991, he joined the «Trio Midt-Norge» and «Piggy Bop».

He has played among others with many musicians familiar to ECM listeners, including Jon Balke Magnetic North Orchestra, Anders Jormin, Edward Vesala, Jon Christensen, Marilyn Mazur, Audun Kleive, Nils Petter Molvær, Misha Alperin, Arkady Shilkloper, Arild Andersen, Hilmar Jensson, Skuli Sverrisson, Stian Carstensen, Dhafer Youssef, Sidsel Endresen, Christian Wallumrød, Nils Økland, Per Oddvar Johansen, Gjermund Larsen, Svante Henryson, Mats Eilertsen, Stian Westerhus, David Sylvian, Jon Hassell, Hope Sanduval, Laurie Anderson, Eivind Aarset, Erik Honoré, Trio Mediaeval, Toshimaru Nakamura, Trygve Seim Orchestra, Jan Gunnar Hoff, Giovanni Di Domenico, Tatsuhisa Yamamoto, Gavin Bryars, John Potter, Teun Verbruggen, Imogen Heap, Kari Bremnes, Jannis Anastasakis, Lars Danielsson, Tigran Hamasyan, the Cikada String Quartet, The Source and many more. He has played in many different contexts, bands and projects, ranging from working with koto player Satsuki Odamura, to the rock band Motorpsycho via numerous free improvising groups with Ernst Reisiger, Sten Sandell, Peter Friis-Nilsen, Lotte Anker, Terje Isungset, Marc Ducret ,Karl Seglem et cetera. Today he is working with Supersilent, and various settings including Jan Bang, Audun Kleive, Helge Norbakken, Stian Westerhus and Ingar Zach.. He has also contributed to David Sylvian's Nine Horses project and his latest work, When Loud Weather Buffeted Naoshima.

Arve started striking out on his own with 2001's Sakuteiki. Several albums followed over the years, including 2004's critically acclaimed Chiaroscuro, 2007's Strjon, and his acclaimed ECM debut, Cartography, in 2009. Henriksen's credits also include contributions to the works of other artists as musician, arranger, and producer. In 2012, he recorded Black Swan in duet with drummer Teun Verbruggen, and followed it with the vinyl-only box set Solidification, which collected his first three albums with bonus material, and a new recording entitled Chron. In 2013, he issued the completely solo Places of Worship to wide acclaim. The Solidification box set had sold well, yet fans who purchased the earlier recordings in their initial releases demanded that Chron be issued on its own. Henriksen and Rune Grammofon accommodated them. In February of 2014, they re-released it in a double package with a companion disc of new material and titled it Chron + Cosmic Creation. Later that fall, he released The Nature of Connections, an album of new material that was closer to contemporary chamber music and North European folk than anything he'd done previously. The compositions were almost exclusively written by his collaborators, who included violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson, double bassist Mats Eilertsen, and drummer Audun Kleive.

He has composed music to Bale Jazz, Vossa Jazz, "My own private furry" (dance performance) and to "FRED" (theatre performance). He has made music for films and documentary programs. He was artist in residence at Moers Jazzfestival 2006 and he has been a part of the European Jazz Launch project 2004-2006. He was the artist in residence at Molde Jazz Festival 2009. He has received Radka Toneffs Minnepris, Norsk Jazzforums Buddy Award, Paul Acket Award at North Sea Jazz Festival and DNB and Kongsberg Jazzfestival´s Musician Award 2011. He has been nominated to Nordisk Råds musikkpris in 2009 and also nominated to European Jazz musician of the year 2009. He has a long discography counting over 140 records in total.

With Supersilent he has been a major contributor to one of the most acclaimed improvisational bands over the last 14 years in Norway, with collaborations with Terje Rypdal among others. John Paul Jones played with them at the Punkt festival 2010, in Kristiansand, Norway and again at Moldejazz 2012. John Kellman of the All About Jazz magazine recognized Arve Henriksen/Jan Bang Double CD Release Show at The Punkt Festival, Kristiansand, Norway, September 2013, as no. 17 of his "Best Live Shows of 2013".


xxxxx xxxxx xxxxx xxxxx xxxxx

Arve Henriksen's first solo CD takes its title from an 11th century Japanese treatise on garden planning. Knowing the care these people put in the conception of their gardens to achieve a perfect level of beauty and balance, one expects something more zen than usual from the Supersilent trumpeter. Well, there are no disappointments in sight. Sakuteiki turns out to be the delicate origami flower its title promised. Recorded in various churches selected for their acoustical properties, the pieces all favor sparse arrangements, acoustic sounds, and an esthetic of open space. The trumpet wails at the stone walls, the slow-decay echo filling the room. At other times Henriksen concentrates on valve or breathing noises. What is more surprising is the very distinctive shakuhachi inflections he produces with his instrument. On a few pieces, particularly during the first half of the album, he also performs on harmonium and church organ. Not a trained keyboardist, his crude tracks provide some atmosphere, but they don't match up to the solo trumpet pieces. Compared to Supersilent's busy group improvisations, this music is a haven. Put in parallel to Axel Dörner and Franz Hautzinger's explorations of the trumpet's microsonic possibilities, it feels warm, compelling, even soothing. On first listen, Sakuteiki could be dismissed as being too easy -- a lazy listener could even interpret it as a form of jazz/new age fusion. But a closer inspection reveals how much each musical gesture is the result of a minute organization to create easy-flowing pieces that bring together avant-garde research and centuries-old wisdom. Recommended.

Arve Henriksen - Sakuteiki  (flac  189mb)

01 Sanmon – Main Entrance 2:37
02 Viewing Infinite Space 3:12
03 Inside Tea-House 4:47
04 Peaceful – Close To Cherry Trees 2:03
05 Procession Passing 4:46
06 Evening Call 2:08
07 Breathing 2:28
08 Beauty Of Bamboos 3:24
09 Tsukubai – Washbasin 2:27
10 Planting Trees Creating Beauty 4:48
11 "Stones Should Never Be Placed Carelessly" 2:10
12 White Gravel 2:26
13 Shrine 4:59
14 Paths Around The Pond 3:11
15 Children In My Garden 4:40

xxxxx xxxxx xxxxx xxxxx xxxxx

If Arve Henriksen's latest album had appeared on ECM, nobody would bat an eye, but Strjon's release on Rune Grammofon is no surprise either, and not only because of the Norwegian trumpeter/keyboardist's previous efforts on that label. In its own low-key way, Rune Grammofon has assumed a strong position as a home of experimental work that touches on various permutations of the electronic avant-garde in Scandinavia, and Strjon, Henriksen's third release for the label, continues this reputation. The music is a combination of old and new, drawing in part on Henriksen's initial recordings as a teenager in the town of Stryn, but then re-recorded and reworked more recently by the trumpeter and two collaborators, keyboardist Stale Storløkken and guitarist Helge Sten. The resultant mix has both obvious roots perhaps reflective of the younger Henriksen's listening -- Miles Davis and Chet Baker are partial role models to be sure, though hardly the sole reference points -- and more involved collages at play, as can be heard in the unsettled chopped-up loops of "Black Mountain." Here, flecks of Henriksen's trumpet become the fragmentary basis for a crumbled rhythm overlaid first by elegant string synths and then heavy Kraut/prog keyboard snarls. Elsewhere, everything from church organ hymns ("Ancient and Accepted Rite," which as a title for such a piece can't be beat) to dark ambient chill (the title track, a cold rise and fall of droning sound that could easily be a Mick Harris piece in miniature) appears. The whole album is a testimony to controlled and careful elegance without simply being an undifferentiated wash of sound, but on a song like "Green Water," where Henriksen's trumpet softly moves over an irregular electronic rhythm that's part gamelan gone utterly minimal, part Ryuichi Sakamoto circa 1984, it's simply breathtaking.

Arve Henriksen - Strjon  (flac  171mb)

01 Evocation 1:55
02 Black Mountain 5:06
03 Ascent 5:58
04 Leaf And Rock 2:17
05 Ancient And Accepted Rite 1:45
06 Twin Lake 2:51
07 Green Water 5:16
08 Alpine Pyramid 1:29
09 Wind And Bow 5:34
10 Strjon 2:02
11 Glacier Descent 7:33
12 In The Light 5:30

xxxxx xxxxx xxxxx xxxxx xxxxx

Trumpeter Arve Henriksen's brand of contemporary improvised music could easily be compared to ECM labelmates Jon Hassell and Nils Petter Molvær. Yet there are certain distinctions that separate the voodoo economic vistas of Hassell and the film noir style of Molvær from the spacious, more organic sound that Henriksen has created on this recording, as the title suggests. Using the slightest of note clusters or phrases, Henriksen also surrounds himself with a certain yin-yang concept, where 180-degree polar opposites congeal without clashing. The titles of these tracks suggests such a maelstrom and symmetry within ideas that in real life have nothing to do with each other. It is to the trumpeter's credit that he has the grand foresight to take these disparate themes into a music whose homogeneity and beauty are heard clearly without any foggy scenarios or cryptic meanings. Each track (some were recorded in concert at the Punkt Festival in Kristiansand) features a differently configured group of musicians, all with Henriksen in tandem with programmer Jan Bang, who also is a collaborator with Hassell (see his 2009 ECM release Last Night the Moon Came Dropping Its Clothes in the Street). "Poverty and Its Opposite" and "Sorrow and Its Opposite" bookend the CD with small loops, a serene framework, a somewhat nautical presence, and the trumpeter's spare inserts. David Sylvian recites poetry during the overdubbed, layered, space music-infused "Before and Afterlife" and the more romantic, sex in the morning-inspired "Thermal." More sensuality appears during "Migration" as legendary ECM bassist Lars Danielsson makes an appearance, bolstering the backdrop while Henriksen muses away à la Hassell. Where "From Birth" is wafting and "Ouija" is drifting, nothing is lost or dissipated as a flutelike sound is extracted from brass or steamy loops, respectively. There are two duets back to back from Henriksen and Bang, as Arabic samples and a dictaphone are employed during "Loved One," while a classical motif of echoed repose is employed on the somber "The Unremarkable Child." While mood shifts are slight and flow from track to track, they do mark a discernible development that is smartly programmed, as with most ECM efforts. Early-period vocal mavens will find the medieval fragments written by William Brooks in "Famine's Ghost" and the reverent, delicate samples borrowed from Trio Mediæval with live singing on "Recording Angel" to be quite captivating. Cartography is a wonderfully realized, musically mapped study of land, sea, and sky through the ears of a very literate, wise, and wide-eyed sonic landscaper who understands the beauty, subtleties, nooks, and crannies of both ancient and modern musical values.

Arve Henriksen - Cartography  (flac  206mb)

01 Poverty And Its Opposite 5:35
02 Before And Afterlife 6:43
03 Migration 5:41
04 From Birth 2:44
05 Ouija 2:40
06 Recording Angel 6:23
07 Assembly 3:56
08 Loved One 4:04
09 The Unremarkable Child 2:04
10 Famine’s Ghost 4:28
11 Thermal 2:27
12 Sorrow And Its Opposite 4:29

xxxxx xxxxx xxxxx xxxxx xxxxx

Arve Henriksen's Cartography  is more than a career consolidation and the trumpeter's most impressive musical statement to date; it's truly a new way to look at the process of composition, a new approach to collaboration and improvisation, and a more production-intensive project that's at odds with ECM's usual two day recording, one day mixing philosophy. But with the album now a year old—and its creation dating back even further—in performance it has continued to evolve, even as Henriksen performed it as a trio with live sampler Jan Bang and guitarist Eivind Aarset at Natt Jazz 2009 in Bergen, and expanded to a quartet with percussionist Helge Andreas Norbakken at Molde Jazz 2009. Henriksen's Punkt performance augmented the core trio with Trio Mediæval soprano Anna Maria Freeman, who also participated in Henriksen's stunningly moving closing performance to his run as Artist-in-Residence at Molde Jazz.

If the opportunity to watch Henriksen perform this music three times in one year has shown anything, it's that Cartography is more than an album; it's a new language that the trumpeter continues to hone, in concert with his band mates. Many of the same pieces were performed, notably the powerfully moving "Recording Angel," which opened the hour-long set. But while some of the key definers remain constant—most notably Henriksen's deep lyricism and, even in the rare moments where the freer improvisations turned more angular, a profound bond with his audience—the way in which he interacts with Aarset and Bang continues to evolve to a level so mitochondrial that it's no surprise that, amongst the many visuals that turned the show into an experience for the eyes as well as the ears, there was text describing the nature of DNA and the human genome.

Friman's participation added a new dimension to the music, her pure voice providing a melodic counterpoint to Henriksen's horn—and his own angelic falsetto. At times singing together, it was a hint of the music the two performed together at the Molde closing concert, but the benefit of a smaller ensemble meant more room for extemporaneous exploration. When she first appeared, she was using the same hand-held tuned percussion (long, rectangular bars that, when shaken, created single, vibraphone-like notes) as she did with Trio Mediæval; Henriksen, too, used these unusual instruments. Aarset and Bang—now going back many years together as members of trumpeter Nils Petter Molvaer's now-dissolved quintet—are both sonic conceptualists who are constantly finding new ways to evolve the music of Cartography. Aarset, in particular, eschews traditional virtuosity (though he is, undeniably, one) and here, like so many of the musicians performing at Punkt, was about serving the demands of the music, not himself.

Henriksen's palette continues to broaden and refine. In addition to expanding extended techniques for his three horns, singing is becoming a larger part of what he does. In addition to his vulnerable falsetto, he demonstrated increasing skill at throat singing, creating brief, sometimes rapidly delivered monologues in Norwegian that, with references to Friman and Punkt, were still partially clear to the festival's English-speaking contingent, and singing in his natural range with increasing power. The music was texturally rich and, linking a number of pieces together into two continuous suites, remarkable for its ability to mesh free improvisation with constructed segments that were all the more remarkable for their sudden emergence through cues that were barely, if at all, perceptible. As Cartography continues to evolve, it's chances to hear it in performance that provide the best window into where Henriksen is going with this new and distinctive vernacular.

Arve Henriksen - Punkt 09 Festival (flac 196mb)

01 Fantasy No.#1 Poverty and its Opposite  Migration 14:05
02 Fantasy No.#2 Recording Angel  Sorrow and its Opposite  29:25

xxxxx

previously Norway stage 26

Arve Henriksen - Chiaroscuro (now in flac 194mb)

xxxxx xxxxx xxxxx xxxxx xxxxx