All About Jazz

Home » Articles » Catching Up With

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

28

Nils Petter Molvaer: The Trumpet Does the Dreaming

Adriana Carcu By

Sign in to view read count
I want to do something different each time I play. There is no point in repeating things. —Nils Petter Molvaer
Nils Petter Molvaer has long reached the musical excellence that places him amongst the most accomplished contemporary jazz musicians. As an early exponent of Nu Jazz, he mapped out a virgin musical territory and contributed to the branding of the Nordic Sound, today a genre in its own right, and still in full expansion. Molvaer's sonic hallmark—traced back to Miles Davis by many jazz critics, and accredited by himself to Jon Hassell—has that unique quality in which the ethereal dreaminess of tone and the abyssal richness of textures coexist.

His most recent collaboration project, realized together with the electronic musician Moritz von Oswald, allows him to explore a new sonic environment. The album, suggestively called 1/1 (EmArcy, Universal Music Group, 2013) is structured on an elaborate rhythmical interplay in which the meticulously processed beats, the elegant trumpet insets and the expectant recesses play just as great a role. Presently the musician is in the process of accomplishing a new project that will mark, yet again, another break into new grounds.

All About Jazz: There are three years, almost to the day, since our first interview. If you were to use only one word to describe the time that has passed, what would that word be?

Nils Petter Molvaer: The word would be: short. Time is passing very quickly these days.

AAJ: How would you describe it in more words?

NPM: It has been an interesting and very challenging time. I had very many projects, most of them happening in parallel, two or three at a time. Managing that and focusing on so many things at the same time can prove to be a real challenge but also brings along certain freshness.

AAJ: What has changed in these years?

NPM: Well, I got older and I hope that also a bit wiser (laughs). My musical surrounding kept changing a lot. I have been playing with musicians of different orientations like Jan Bang, Eivind Aarset, Stian Westerhus, Trygve Seim, Trilok Gurtu, and Manu Katche, or with quite young people like the Swiss band Brink Man Ship and enjoying every minute of it.

AAJ: 1/1, your new album recorded together with Moritz von Oswald has just been released. It has a quite different sonic impact than Baboon Moon (Sula Records, 2011), the album recorded with Stian Westerhus. To what inner need is this transition responding?

NPM: Baboon Moon was more Stian Westerhus' project than mine, so he had a stronger imprint on it. In 1/1 there was a lot more cooperation involved. I could do more what I wanted there and move about in other directions. I really wanted to explore the dub techno sonic universe for quite some time, and in some way it brought me back to the nineties, when I was listening to that kind of music and wanted to play on it. You may find there some rhythmical similarities with my first album, Khmer (ECM, 1997), which actually comes to show how far back the traces go. It was great fun to work with Moritz, but in the bigger frame of things I think that you can call it rather a side-project.

AAJ: How did the synergy work?

NPM: It was challenging in a very nice way. It challenged my own perception about what I was doing, the way I was placing myself in a musical environment that was very basic and very dense at the same time. But if you listen attentively, you realize that the sound is very deep and quite well structured. It consists on many loops put together in a very elegant manner. The challenge was to move in a minimalistic space with so much room and not to overplay, not to crowd it with unnecessary sounds. So there was also a lot of listening and waiting there, which I had to learn. You also have to be as precise as can be in order not to alter anything, just like finding your own path. We had 150 minutes of music and we trimmed it down to around 60 minutes, and, of course, we had to consider many choices along the way. Mixing can prove to be quite a challenging task as well, because at some point in becomes hard to decide what you want to leave and what to cut away.

AAJ: To what extent is a recording based on improvisation and how can that be reproduced in concert?

NPM: This new album was from my side based hundred percent on improvisation. There are a couple of themes, which just came up, like the one in "Step by Step," and when I play again I use those as a starting point. I also used some stuff from Solid Ether (ECM, 2001) and I realized that it worked all right. Other than that the show is quite different from the album and it has to be like that, because I want to do something different each time I play. There is no point in repeating things. I may make some hints to some old themes in the show and just see what happens.

AAJ: Along your career you have written quite a few beautiful themes. Do you have a favorite track?

NPM: Let me see, I never thought about it. I like "Icy Altitude" from Hamada (Sula Records, 2009). It is a deeply melancholy song that has a kind of calmness and a precision I like. I also like "Little Indian" from NP3 (ECM, 2002) or "On Stream" from Khmer, which are quite different, but I think that they represent me in a way.

Tags

Related Video

comments powered by Disqus

Mercury Heart

Mercury Heart

Nils Petter Molvaer
Baboon Moon

Cruel Altitude

Cruel Altitude

Nils Petter Molvaer
Hamada

In Pictures
Live Reviews
CD/LP/Track Review
Rediscovery
CD/LP/Track Review
Read more articles
Buoyancy

Buoyancy

Okeh
2016

buy
Switch

Switch

Okeh
2014

buy
1/1

1/1

EmArcy
2013

buy
Baboon Moon

Baboon Moon

Sula Records
2011

buy
Hamada

Hamada

Sula Records
2010

buy
Hamada

Hamada

Thirsty Ear Recordings
2009

buy

Related Articles

Read Zach Brock: Jazz Violin's New Wave Catching Up With
Zach Brock: Jazz Violin's New Wave
by Angelo Leonardi
Published: September 12, 2018
Read Linda May Han Oh: Talent and Dedication Catching Up With
Linda May Han Oh: Talent and Dedication
by Angelo Leonardi
Published: September 11, 2018
Read Harold Lopez-Nussa: from Havana to Indianapolis Catching Up With
Harold Lopez-Nussa: from Havana to Indianapolis
by Fernando Rodriguez
Published: September 2, 2018
Read Stu Mindeman and trio explore a Chick Corea classic at the Chicago Jazz Festival Catching Up With
Stu Mindeman and trio explore a Chick Corea classic at the...
by Corey Hall
Published: August 21, 2018
Read Frank van Berkel: New Programmer at Amsterdam's Bimhuis is Committed to Serve and to Curate Catching Up With
Frank van Berkel: New Programmer at Amsterdam's...
by Joan Gannij
Published: August 7, 2018
Read Erik Friedlander: Reversing Abstraction Catching Up With
Erik Friedlander: Reversing Abstraction
by Ludovico Granvassu
Published: July 31, 2018
Read "Django Bates: Delightful Piano Touch" Catching Up With Django Bates: Delightful Piano Touch
by Enrico Bettinello
Published: January 16, 2018
Read "Linda May Han Oh: Talent and Dedication" Catching Up With Linda May Han Oh: Talent and Dedication
by Angelo Leonardi
Published: September 11, 2018
Read "Michael Blicher: Groove is in the Heart" Catching Up With Michael Blicher: Groove is in the Heart
by Mark Youll
Published: February 27, 2018
Read "Ben Allison: Between Groove and Melody" Catching Up With Ben Allison: Between Groove and Melody
by Angelo Leonardi
Published: March 20, 2018
Read "Gunhild Carling: Sweden's Incredible Talent" Catching Up With Gunhild Carling: Sweden's Incredible Talent
by Nicholas F. Mondello
Published: November 25, 2017
Read "Ellen Doty: Goosebumps All Over" Catching Up With Ellen Doty: Goosebumps All Over
by Kevin Press
Published: March 4, 2018