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Eivind Aarset


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Guitarist Eivind Aarset, one of the most exciting, individual and creative voices from the Norwegian jazz underground, saw Electronique Noir, his first release as a leader, hailed as "One of the best post Miles electric jazz albums" by none other than the The New York Times as well as America's leading jazz magazine Jazz Times and the UK's Jazzwise. Now Light Extracts, his much anticipated follow up album, is set to establish Eivind as one of the key voices in European Nu-Jazz. Once again his music is a here-and-now reflection of the latest, most exciting sounds to be found in jazz, mixing improvisation with rhythms from European club culture, exploring the potential of a music so new it has not yet set any frontiers or rules and the only limits are the limits of the imagination.


Eivind Aarset er en gitarist med en unik musikalsk visjon som absorberer og reflekterer all slags musikk og samtidig beholder en misunnelsesverdig individualisme og høykvalitet håndverk som spenner fra rolig intimitet til stekende intensitet. Hans debut som bandleder på Jazzland Recordings ble beskrevet av New York Times som en av de beste post-Miles elektriske jazzalbum. Som en av Norge mest etterspurte gitarister har Eivind Aarset jobbet med Bill Laswell, Dhafer Youssef Jon Hassell, Jan Garbarek, Paolo Fresu, Marilyn Mazur, J. Peter Schwalm, Talvin Singh, og Andy Sheppard. Han er også jevnlig i Nils Petter Molværs band og en fast samarbeidspartner med Dhafer Youssef, både live og i studio.

 

Eivind Aarset :gitar, elektro
Gunnar Halle :trompet, synthesizer
Audun Erlien :bass
Bjørn Charles Dreyer :gitar, pedal steel
Erland Dahlen :trommer, perk, sag, klokkespill
Wetle Holte :trommer, perk, elektro

 

 EIVIND AARSET - DREAM LOGIC

 

På Dream Logic har Eivind Aarset samarbeidet tett med Jan Bang og Erik Honoré. Dream Logic er lag av Eivinds mer eller mindre konvensjonelle gitarbruk og Jan Bangs samples og effekter – til sammen et drømmeaktig landskap, et umulig sted, slik søvnen kan åpne for umulige steder og tilstander, ikke bryr seg nevneverdig om fysiske lover. Som en som trives godt i, om ikke med, kategorien nu jazz kjenner jeg meg umiddelbart igjen. Selv om det glir og vi svever for å så svømme, hvordan nesten uhørlig perkusjon og treig, seig bassgang liksom bobler opp mot en umulig overflate, blir det aldri vanskelig, ei heller søvndyssene. Lag med bearbeida gitarlyd gir oss et stryker- eller synth-liknende, langstrakt bakteppe med detaljer som trer fram i krystallklar, mer konvensjonell gitar. (Jazz i Norge)

Anmeldelse HER

Etter flere egne utgivelser på Bugge Wesseltofts Jazzland, kommer Aarset nå på ECM, der han allerede har en omfattende cv som medmusiker for bl a Nils Petter Molvær, Marilyn Mazur, Jon Hassel, Arve Henriksen og Arild Andersen. På «Dream Logic» har han samarbeidet tett med Jan Bang og Erik Honoré om produksjon og klanglig utforming av de 11 melodiene/klangskulpturene/lydlandskapene, og albumet er en av de få ECM-utgivelsene som ikke bærer ECM-sjef Manfred Eichers navn overhodet. Som gitarist med stor sans for og ditto kunnskap om elektronikkens lyd- og dermed uttrykksutvidende muligheter, er Eivind Aarset en banebryter. Også på «Dream Logic» spiller gitaren ofte rollen som manipulerbar lydkilde og redskap for lag-på-lag-legging mer enn som tradisjonell melodifortellerstemme.

Les hele DAGBLADETS anmeldelse HER

The renowned Norwegian guitarist – who has previously contributed to ECM recordings with Nils Petter Molvær, Marilyn Mazur, Arve Henriksen, Andy Sheppard, Arild Andersen and Jon Hassell – with a first ‘leader’ disc for the label, recorded in Kristiansand and Oslo. “Dream Logic” is aptly named, its slowly developing drifting pieces, built up from layers of guitars, have an almost hallucinatory quality, an otherworldly ambience. Jan Bang, who is co-composer of a number of the pieces, also contributes sounds and samples, and co-produced the disc.

Into the synchronicity of technique and vision he has sculpted since his early teens, Aarset has absorbed inspiration from a variety of musicians, including Bill Laswell, Marilyn Mazur, and, above all, Jon Hassell. That said collaborators are all masters at creating dream logics of their own is no coincidence, for he too is the student of another time-space continuum. With guitar as writing instrument and an array of electronics as his paper, he takes down field notes of a culture we’ve never known, a culture that slides down the ladders of our DNA and airbrushes mantras onto our microbes. Partner Jan Bang—who worked alongside Aarset most recently on Hassell’s Last night the moon came dropping its clothes in the street—adds rivers and landmarks, making the overall effect that much more immediate. Given the above history, one would expect long dronescapes, à la Re: ECM, to prevail. What we get instead is a set of eleven glimpses averaging four minutes apiece. These are no scale models, but self-aware biomes along whose ghostly borders flourish colonies of samples and contact wire.

FULL REVIEW HERE

 

EIVIND AARSET - THE SONIC CODEX ORCHESTRA

Sonic Codex, Aarset's femte Jazzland utgivelse, er kanskje det sterkeste albumet han har produsert så langt. Sonic Codex tar konsepter fra hans tidligere album, nyetablerer, utdyper og forsterker dem til å lage et sant mesterverk som godt kan være et avgjørende øyeblikk i både Aarset karriere og Jazzlands historie. Albumets tittel er en perfekt oppsummering av sitt timeslange innhold: Det er en SONIC CODEX. Den fronter Aarset's engasjementsregler med lytteren, og svært bevisst siteres og omdefineres musikaliteten som utgjorde de foregående albumene Electronique Noire, Light Extracts og Connected - det er en innovativ tilstedeværelse som samtidig oppsummerer fortiden, og spår fremtiden.

While Aarset's almost pathological avoidance of conventional guitar tones—and familiar rhythmic and harmonic approaches—remains intact from earlier albums including Connected (Jazzland, 2004), Sonic Codex does have some of his most identifiable guitar playing on record. Aarset is usually such a vivid colorist that, without the benefit of seeing him, it's often difficult to discern exactly what sounds are coming from his complex array of effects, samplers and looping devices. AllAboutJazz full revivew here: http://bit.ly/K7hhwD

Taken from various venues, and with slight variations of personnel, Live Extracts retains the unity of feeling and purpose found on Aarset's studio work, yet is constructed from a completely different perspective. The dynamism of the live sets offers the listener a fresh perspective on familiar material, often sounding completely reimagined. However, the distinctive approach is clearly that of Eivind Aarset, albeit less distilled or refined: this is the raw ore of his imagination, often bold, energetic, and untamed, yet capable of moments of stillness, tenderness and cool composure. It is an expressionistic version of his sonic world, but never falls into self-indulgence - ego takes a distant backseat, instead allowing the interplay of the musicians to grow both inside and out the song structures that Aarset's fanbase know so well, creating something utterly new in the process. The opening and closing tracks, although growing to and from separate established pieces from the Aarset oeuvre, are superb examples of spontaneous music, filled with atmosphere and delicate brilliance. Echoes of Jimi Hendrix and Miles Davis also resound in Electromagnetic and Sign of Seven respectively, but are driven through a very Aarset filter. For fans, this will be an affirmation of their zeal for his music. And for those who have never experienced Eivind Aarset's live performances, Live Extracts will be a revelation, one that will make them pay very close attention to concert listings in future.

The Guardian review

 

EIVIND AARSET  - CONNECTED

This is Eivind Aarset's third opus, neatly following on from his first "Electronique noire" output which first brought attention to Norway's well-kept secret jazz talent. Though not that secret after all, the New York Times defined his debut as "One of the best post-Miles electric jazz albums". After that came slow but sure worldwide touring, chill-out dj word of mouth (thanks to some wonderful Chilluminati remixes) and another critically acclaimed follow up "Light Extracts".

EIVIND AARSET - ÉLECTRONIQUE NOIRE - LIGHT EXTRACTS

Eivind Aarset - one of the voices from the Norwegian jazz underground, saw 'Electronique Noire', his first release as a leader, hailed as 'One of the best post Miles electric jazz albums' by none other than The New York Times as well as America's leading jazz magazine 'Jazz Times' and the UK's 'Jazzwise'. Now 'Light Extracts', his much-anticipated follow up album, is set to establish Eivind as one of the key voices in European Nu-Jazz.

EIVIND AARSET - ÉLECTRONIQUE NOIRE

In 1998, Aarset released "Electronique Noire", his debut as a bandleader, and among the first Jazzland releases. Critics cast about for description that fitted the album: "Post rock"; "Nu Jazz"; "Post Miles Ambient"; and "Drum 'n' Bass Fusion" are among the many efforts, yet none truly captures the unlikely match of diversity and coherence that the album displays. During this time, Aarset was working and touring with Nils Petter Molvaer, recording on the trumpeter's landmark album "Khmer" (and each Molvaer album since). As Molvaer broke through, gaining an international listenership, many fans found their way to "Electronique Noire" and the initial, mind-bending impact of the album opener, "Dark Moisture," is still a popular topic of discussion among Aarset fans.

More:

In a time when the interactive video game Guitar Hero is selling in the millions, Eivind Aarset is, in many ways, the Guitar Anti-Hero. Despite making music that could easily lend itself to the kind of guitar pyrotechnics that are so often the litmus test of a good player, Aarset's emphasis is on texture, on melody, on groove, and on a kind of collective improvisation that's been reshaping and redefining what jazz can be since he released his first album as a leader, Electronique Noire (Jazzland) in 1998. Live Extracts (Jazzland, 2010), featuring various incarnations of his expanded Sonic Codex Orchestra, is culled from a number of live dates in Europe, largely revisiting earlier material from albums including Connected (Jazzland, 2004) and Sonic Codex (Jazzland, 2007), but with paradoxically even greater energy and subtlety; music that moves from a whisper to a roar in a matter of seconds.

FULL ARTICLE

Eivind Aarset homepage

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