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Audun Kleive

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http://www.audunkleive.com/index.html http://www.jazzlandrec.com/kleive_bio.html

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Audun har gjennom tallrike samarbeid med andre sterke personligheter befestet sin posisjon som trommespiller. Akustisk, men forsterket. Lyden av trommene hans har det gått gjetord om helt siden han med Terje Rypdal & the Chasers begynte sitt aktive og unike samarbeid med lydteknikere tidlig på åtti-tallet. Samtidig har han alltid drømt om å kunne beherske lydkilder som peker mot andre sider av hans musikalitet - en annen type lyd enn de akustiske trommene; ikke fra et keyboard eller fra samplede instrumenter, men fra et fullstendig responsivt, ultradynamisk slagverksinstrument......andre referanser...eller kanske ingen referanser...

AUDUN KLEIVE’s reputation within the jazz community can best be described as true royalty..  His musicianship as a drummer and percussionist is highly respected among his peers, has gained him an established reputation as a vital force in Norwegian and international jazz, and he is a source of inspiration for an entire younger generation of jazz musicians. “I am convinced that the world needs alternatives,” Kleive states about his artistic vision, continuing, “honest musical attempts that further develop the great heritage from our planet’s composers…music is one of the last possible free places left in the world, and I aim to show that art form my respect to my last breath.” His integrity and artistry is reflected as a participant in well over 100-plus recordings, he has provided the rhythmic foundations for such varied musicians as Terje Rypdal, Jon Balke, Charles Lloyd, and Marilyn Mazur. Voted by the Norwegian Jazz Musician’s Union in 1989 as Jazz Musician of The Year, he has continued to be a highly valued artist in constant demand for other projects or as a featured performer.

Noe har han gjort i små perioder med sitt eget prosjekt Generator X.  Og noe får han alltids gjort i et studio eller på scenen med f.eks Nils Petter Molvær - der han alltid gjorde en soloavdeling med kun et lite cymbal han spiller på med fingrene - kraftig forsterket, og i nært samarbeid med lydteknikeren. Men det er ikke før nå han har funnet tid til å fordype seg i et instrument som har kvalitetene han søker:  en "tromme" - eller egentlig en såkalt "percussion-synthesizer" og en rekke controllere for lyd som fort kan endre oppfatninger om hva som bor i et perkusjonsintrument. Koblet med et utvalg akustiske kilder blir dette en visjonær reise i dynamikkens- og beatets verden.


Latest august 2014:

A band  made  up of  four  Scandinavian jazz  stars  –  Svante  Henryson  (cello),  Jon  Balke  (piano), Anders Jormin (double bass)  and Audun Kleive (drums) – some of the most influential musicians in the last twenty years of European  jazz. The  project,  which  began  with  the  first  edition  of   Jon Balke’s Magnetic North Orchestra, was born thanks  to the open musical vision of  its leader Svante Henryson and  has  its  roots  in  the  constant desire  of  its other  members  to  explore  and  interact.

Henryson is a unique musician when it comes to voice  and phrasing, an all-around artist able  to move  with absolute  freedom in a  musical  universe without distinction of musical genre.  He is a composer  for  orchestra and a formidable improviser, equally comfortable playing  double bass  and electric bass  as well as being a virtuoso on the cello. Henryson’s career spans through a wide array of  genres  and  collaborations,  from  the  Oslo  Philharmonic,  to  being  a  member  of   Yngwie Malmsteen’s  legendary rock band, passing  through prestigious  collaborations (with Anne-Sofie von Otter, Elvis Costello etc.) and being  an integral player on the Scandinavian Jazz  scene. His quartet has  an  unmistakable  sound:  four  masters  on  their  respective  instruments  light  up  the  original compositions of their leader  with an almost magnetic synergy, under the common denominator  of jazz, but always on the lookout for new ideas and surprises.



IN the fall of 2010, after touring extensively around the world with my old friend Nils Petter Molvær for some 3 years, I finally found the time to dive a little deeper into an electronic version of my drumming. Utilizing a wavedrum, a computer and about 112 midicontrollers, my goal was to create more harmonic content in both my sound and my phrasing, and to create a constantly moving/dancing filter/stereofield. While practicing this setup at home - I made stereo-recordings each and every day for 6 months, and in february 2011 found myself sitting on tens of hours of music. Not being able to further shrink my selections, I realized I needed help cutting the best stones from this vast quarry of material, and called my friends Jan Bang and Erik Honoré.
Originally I asked them to make rough cuts and selections from the stereomaterial fit for an album, but then I came across some money and we decided to make a properly "produced" album, meaning spending several weeks in Jan ́s studio to make selections, rearrange my recordings to new forms, overdub them, orchestrate them etc. This album is totally different from "ATTACK", not a drumset in sight, and definitely danceable if you keep your eye on the ball.


This session took place october 2006 in my studio Audiopol.  Christian W was the only one left from the old GeneratorX, and I wanted to check out Ole Morten´s electric bass capabilities. This recorded meeting was our first ever, a kind of an audition for a new branch on the GeneratorX family tree. I wanted to focus on "attacking" soundscapes, and besides that the following rules apply:
We have a common start-tempo/pulse.
Each will rapidly try to develop a personal system that each individual adheres to throughout the take.
This personal system must somehow have its relationship to our existing "common" pulse maintained, while staying consistent with one´s own idea even if this precipitates "crashes" rhythmically, or in any other ordinary musical sense of the word.
The trio turned out to be a perfect match, almost....uuhh...OhMyGod-able.
The level of interplay on these takes continues to amuse and stun me even today, after many long periods trying to finish the editing and sound these last 5 years. ENJOY!!


An interesting aspect of the Norwegian nu jazz scene is how much fine acoustic work each of the key players did before moving into electronic, drum-n-bass-influenced territory. As examples, Nils Petter Molvær (whose albums Khmer and Solid Ether are two of the defining statements of the genre) was a member of Masqualero, a group that brought together the free searching musicality of late-'60s Miles Davis with the more lyrical, impressionistic textures associated with the ECM label. Bugge Wesseltoft, another crucial figure, recorded with Arild Andersen, Sidsel Endresen and Billy Cobham.

Audun Kleive is no exception. He receives far less recognition than he deserves as one of the most individual and talented drummers around. A key example of his abilities in an acoustic setting can be found on the album Off Balance by Jon Balke's Oslo-13, where he drives the complex big band charts forward with his propulsive playing, providing rhythmic momentum in the pedal hi-hat, freeing the hands from their usual time-keeping role to allow more expressive use of toms and cymbals. Recorded in 1988, this predates similar work by drummers like Billy Kilson or Eric Harland.

Generator X is an excellent album and could rank as one of the key statements in Norwegian nu jazz. It's very interesting in its range of influences and how it combines these to create such a cohesive whole. The most arresting track is "Obelisk," which apart from its very modern rhythmic elements could almost have been a lost track from Miles Davis's Get Up With It sessions. Trumpeter Arve Henriksen opens with his trademark flute-like tone but soon moves to a more hard-edged timbre for some gritty soloing over the dense, misty backdrop painted by Kleive's rhythms and the shifting keyboard textures created by Christian Wallumrød and Ståle Storløkken, both of whom give more than a hint of Herbie Hancock in their use of harmony and the timbres conjoured from their very retro '70s array of keyboards (Rhodes, Prophet and Moog). One thing that is striking about the music is how it retains a sense of form throughout and yet remains extremely spontaneous and inspired.

The album is full of interesting textures. "Never Thought I Would," one of two live tracks adding Jan Bang to the lineup, opens with a thudding house-like bass drum beat over which Kleive's vocals and the keyboards create a range of textures very different from those on "Obelisk." On "Framework," the keyboards show Weather Report influences, but transplanted to an edgy modern environment characterised by Kleive's live drumming, very effectively fractured through editing, and other electronic textures. The more contemplative "Mainstay" also shows Weather Report influences, especially in the very Zawinalesque Moog and Rhodes parts. Generator X can in many ways be seen as an extension of the timbres and sense of musical experimentation found in mid-'70s Miles Davis or early Weather Report, whilst combining this with many thoroughly modern elements to create a sound world not really found anywhere else.


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Svante Henryson (artist)

Svante Henryson is a unique musician. A virtuoso of three instruments, a composer of orchestral music, and an improvi....

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