Jazz Articles about Sidsel Endresen

Punkt / Sidsel Endresen / Jon Hassell: Live Remixes Vol. 1

by John Kelman
September 21, 2008

If there's any downside to Norway's intrepid Punkt Fest, it's the inherently restricted audience capable of participating in its profound experience. While performances from artists spanning the entire musical spectrum are almost always captivating, it's Punkt's premise of following each show with a Live Remix, where other musicians interact with radical manipulations of the music just heard. The musical laboratory of the Alpha Room, where the Live Remixes take place, is limited to fewer than 300 people, resulting in a ...

Aa.Vv.: Jazzland Community

by AAJ Italy Staff
March 3, 2008

Questo bel disco nasce dalla volontà di Bugge Wesseltoft, padre fondatore del collettivo ed etichetta discografica Jazzland, di celebrare il decimo anniversario dalla fondazione, riunendo alcuni dei suoi membri più rappresentativi e dando vita a un tour di 20-25 date fra Germania e Norvegia. I brani sono stati registrati al “Fabrik Club" di Amburgo, al “Cosmopolite" (noto jazz club) e alla “Bugge's Room" (studio di registrazione di Bugge) a Oslo. L'album riassume l'essenza e la musica di questa fantastica community ...

Sidsel Endresen: One

by Eyal Hareuveni
January 4, 2007

One is the most abstract yet original release by Norwegian vocalist Sidsel Endresen. Known for her ECM releases (So I Write, 1990, and Exile, 1994) and her collaborations with fellow countrymen (keyboard player Bugge Wesseltoft, saxophonist Trygve Seim and percusionist Terje Isungset), Endresen is a music educator who has influenced many Norwegian vocalists in her country. Still, she's an innovative musician who keep searching for new avenues to express her art.

One is a series of ten short, ...

Sidsel Endresen & Bugge Wesseltoft: Duplex Ride

by AAJ Staff
May 1, 1999

The duo is often a format of interplay; this one more than most. She sings; he mans a massive bed of keyboards. The adventure goes further: some of these pieces are free improvisations, including the words. There are few precendents for this: Stevie Wonder ad-libbed the words to “Fingertips”, but the words didn’t make it a hit. Dubs and echo are used often, making him an orchestra and her a choir. It could be overdone but it isn’t: they have ...