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The fourth album of the Norwegian improvisational trio 1982 Hardanger fiddler and violinist Nils Okland, organist Sigbjorn Apeland, and drummer Oyvind Skarbofeature this original outfit of two different sides, just like in the classic LP format.
The A side offers an improvised out-take from the trio 's 2009 Pintura album session (Hubro, 2011). Composer-trumpeter Stian Omenås, a close friend of Skarbø, wrote an arrangement for wind sextet that expanded on the original improvised idioms, later layered onto the pre-existing trio improvisation. This unusual ensemble features Swedish clarinetist Fredrik Ljungkvist, member of the Swedish-Norwegian quintet Atomic and trombonist Erik Johannessen, member of Jaga Jazzist.
Omenås captured beautifully the emotional, melancholic atmosphere of the original improvisations and succeeded to form an organic interplay between the improvising trio musicians and the latter, expanded arrangement. He restructured the piece as a subdued and nuanced chamber suite, adding to the intuitive, spontaneous piece more colors, dramatic dynamics, and depth. His meticulous arrangement solidifies the Nordic folk and spiritual references of the 1982 sound, but within a broader, contemporary context.
The B side features the 1982 trio continually developing its highly personal sonic universe. Apeland plays the piano on one piece, "02:01," and Økland uses his vocals on "03:12." These five short pieces were recorded at Grieghallen Studio in Bergen just before the studio was closed down in the summer of 2013. These pieces highlight the playful and unorthodox manner of improvisation of this trio, always keen to challenge and surprise itself. The cinematic pieces may suggest where 1982 goes next, playing live music to animated film. All manage to sketch a vivid, lasting contemplative state-of-mind.
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.