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Keeping in line with modern music’s omnipresent renaissance spirit, Norwegian composer/keyboardist Nils Henrik Asheim renders sixteen freely improvised pieces on a church organ. Beautifully recorded at "Oslo Cathedral," the classically trained artist transforms the sonorous qualities of a pipe organ into a series of loosely based motifs. Some might consider such an endeavor as being impractical or eccentric, yet lo and behold, Asheim pulls it off without any hitches or distorted viewpoints. He excels when exploring the inherent sonic characteristics of the organ, while also utilizing latitude to great effect. The artist melds gothic overtones, with free jazz like single note runs across the keyboard. Moreover, he melds more than a few inconspicuous surprises with sinuous passages and daintily constructed choruses. Essentially, Asheim’s brainchild contains trancelike aspects, yet this is not to suggest that his thematic inventions tend to be diminutive or superfluous. His game plan consists of lucid imagery in concert with abstract tendencies that offers a disparate glimpse of the temporal possessions of the church. Recommended...
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.