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Jazz Articles about Hakon Kornstad

Album Review

Bugge Wesseltoft: Be Am

Read "Be Am" reviewed by Gareth Thompson

In a 2008 interview, Bugge Wesseltoft spoke of his despair at seeing civilians suffer throughout history, unable to protect their families and children from wars. He also noted that watching such events unfold from the safety of his Norwegian homeland was painful. Wesseltoft had recently released his superb album IM (Jazzland Recordings, 2007) which found him on reflective form at the piano. Come the pandemic of 2020, Wesseltoft was caught in a similar climate of fear to those ...

Extended Analysis

Hakon Kornstad: Symphonies In My Head

Read "Hakon Kornstad: Symphonies In My Head" reviewed by John Kelman

Håkon Kornstad Symphonies in My Head Jazzland Records 2011 Amidst a nation of musicians who fearlessly and seamlessly find ways to marry music and technology on the most human of terms, Håkon Kornstad still stands alone. Armed with an array of saxophones, flutes and weird hybrids like the flutonette (a clarinet mouthpiece on a flute body)--and a vintage looping device that may be limited compared to newer ones on the market, but is ...

Album Review

Hakon Kornstad: Symphonies In My Head

Read "Symphonies In My Head" reviewed by Eyal Hareuveni

The third consecutive solo album from Håkon Kornstad is an exemplary, creative work. The Norwegian saxophonist expands an already remarkable palette of sounds and technique from Single Engine (Jazzland, 2007) and Dwell Time (Jazzland, 2009) with musical references that continue to grow and surprise. As before, he manages to turn his improvisations into small symphonies, arresting in their structure and deep emotional impact. As with Dwell Time, Kornstad uses the excellent acoustics of Oslo's Sofienberg Church as ...

Album Review

Håkon Kornstad: Dwell Time

Read "Dwell Time" reviewed by AAJ Italy Staff

La scena norvegese - e più in generale scandinava - dell'improvvisazione degli ultimi anni ha registrato l'affermazione di una generazione di grandi talenti con una lunga serie di produzioni di alto livello, se non addirittura storiche, anche grazie al lavoro di alcune piccole case discografiche e dei loro produttori. Un valido esempio di questo fenomeno è la Jazzland di Bugge Wesseltoft, un'etichetta che dalla seconda metà degli anni Novanta ha seguito e documentato la carriera di alcuni dei protagonisti del ...

Album Review

Hakon Kornstad: Dwell Time

Read "Dwell Time" reviewed by Andrey Henkin

32-year-old Norwegian saxophonist Håkon Kornstad continues to skirt the competing modern Scandinavian jazz aesthetics of Jan Garbarek and Mats Gustafsson. In 2008 he participated in the stunning Elise (Compuctio, 2008), a delicate acoustic duo exploration with bassist and countryman Ingebrigt Håker Flaten. Kornstad's Dwell Time is, in many ways, a companion piece to that disc in its sheer beauty and deliberateness. But where that album existed in the ether of resonating wood and metal, Dwell Time is unaccompanied, using live ...

Album Review

Kornstad: Dwell Time

Read "Dwell Time" reviewed by Chris May

Norwegian saxophonist and flautist Håkon Kornstad began to acquire an international profile in the mid-2000s as a member of the electro-acoustic band Wibutee, and with burgeoning guest appearances with the likes of nu jazz auteur and keyboard player Bugge Wesseltoft and singers Sidsel Endresen and Anja Garbarek. What made Kornstad's playing so refreshing then, and continues to make it so in 2009, is the distance he stands apart from other Scandinavian saxophonists. On Wibutee albums like Playmachine (2005), the group's ...

Album Review

Kornstad: Dwell Time

Read "Dwell Time" reviewed by Eyal Hareuveni

Prolific Norwegian reed player Håkon Kornstad is known for his conceptual and genre-bending work, beginning with the free improvising Kornstad Trio, experimenting with electronics on Wibutee, exploring chamber Jazz with fellow countryman, pianist Håvard Wiik and bassist Ingebrigt Håker Flaten, or collaborating with hip vocalist Anja Garbarek. On his second solo release he follows but still diverts from Single Engine (Jazzland Recordings, 2007). Whereas the latter focused on a variety of musical gestures and a wide spectrum of emotions and ...


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