På baggrund af en række af trioen The Firebirds’ improvisationer har seks komponister udarbejdet nye værker for strygekvartet, som så igen danner grundlag for nye jazzimprovisationer. Det er der kommet utroligt vellydende musik ud af. Og ikke mindst meget af den. Man mærker den ustoppelige strøm af inspiration, som den potentielt uendelige adaptionsmetode har foranlediget: Det i forvejen lange album har æren af at være den eneste udgivelse af ny kompositionsmusik, jeg kan huske at være stødt på, som fås i en deluxe-udgave med bonus tracks.
Et fascinerende aspekt af Adaptations er den stilistiske afsmitning mellem jazzen og den klassiske musik. The Firebirds har formentlig taget navn efter Stravinskys Ildfuglen, og det er passende, for hvis albummet minder mig om én ting, er det Stravinsky, når han var allermest jazzet (eksempelvis Koncert for klaver og blæsere fra 1923). Ét øjeblik gjorde særligt indtryk på mig: Det gælder overgangen fra improvisationen »Nocturnal Dance« – der med sin tunge, funkinfluerede basgang, sin nærmest dansable rytmik og sine lidenskabelige saxofonhyl lyder som fusionsjazz alla Herbie Hancock anno 1973 – til dens strygeradaption: komponisten Mauro Patricellis »Fato«. Et stykke musik, der overraskede mig dybt med sin storslåede dramatik og nærmest romantiske schwung (ikke ord, jeg ofte bruger til at beskrive ny musik). De to stykker musik har ikke meget til fælles, men alligevel er forbindelsen tydelig: Det er som om, de spejler hinanden i deres energiske fremdrift og maksimalistiske udtryk. Adaptations er fyldt med den slags overraskende, tankevækkende konstellationer.
The organ, one of Christianity’s most powerful liturgical markers, runs like a red thread through Swedish artist Anna von Hausswolff’s work. But on her latest album Iconoclasts, the long, piercing drones are toned down in favour of a sharper, driving energy. It was an energy that came through strongly at Hausswolff’s concert in Vega last night, where she was, as usual, joined by a large band. The evening opened with Swedish noise musician Klara Lewis, whose mumbling cassette-loop textures set a brutally atmospheric tone from the start.
Hausswolff’s band was this time expanded with saxophone and percussion, both central on Iconoclasts and both contributing to the slight eurodance tinge that colours several tracks. Unfortunately, the saxophone was at times swallowed by the dense soundscape. Fortunately, Hausswolff’s radiant voice cut through clearly. So did the small organetto – a kind of bellows-driven organ with long pipes. It stood like a totem at the centre of the stage and was almost embraced by Hausswolff whenever she played it. A piece like »The Whole Woman« (a waltzing duet with Iggy Pop on the album) became, in concert, a touching love ode, carried by the organ’s gentle breath as its pulse.
In recent years, a number of musicians have used the organ’s distinctive resonances to wrest it free from the weight of Christian liturgy, giving the instrument an almost iconoclastic status. Despite a slightly muddy sound mix, Hausswolff’s concert was a clear example of this contrast – still deeply rooted in ecclesiastical connotations, yet now an accomplice in large-scale modern productions and a central instrument on major stages.
English translation: Andreo Michaelo Mielczarek
»Music, to me, is … the silence that gropes – like yourself – across a black canvas.
In moments, a hissing emerges.
Nuts are cracked.«
Jørgen Teller has a long career as an electric guitarist, vocalist, electronic musician, and performer. He has released records solo as Static Teller and with Jørgen Teller & The Empty Stairs, Kaptajn Ørentvist … He frequently collaborates with local and international musicians.
»For me, music is a non-figurative process that cannot be definitively categorised.«
Kristoffer Raasted graduated as a visual artist from the Media School at the Royal Danish Academy of Fine Arts in 2018 and is currently completing a PhD in practice-based and artistic research. Raasted has been an artist in residence at the Danish Institute in Rome and a visiting researcher at UdK Sound Studies in Berlin as part of his PhD.
»When I search for new music, I search for sound that evokes images in my mind. It is fuel, a gateway to emotion, and my most important writing companion. When inspiration lapses, music is the tool that always jumpstarts it.«
Iain Forbes is a Scottish/Norwegian film director based in Oslo. He has studied film directing at Nordland College of Art and Film and the Norwegian Film School. His graduation film Revisited won a Student Academy Award in 2023. He has previously directed short films such as Snowman (2015) and Semper Fi (2017). His latest short After Dark won Best International Short Film at the Oscar-qualifying Foyle Film Festival in 2024
»Music, to me, is a companion through life, a premise, an excuse, a mystery, an explanation, a point of departure. It is old ideas, overlooked treasure chests, new angles, long concerts, doubt and conviction. It is words, tones, cracked voices, different points of departure, bass in the diaphragm, falsetto in the hair, challenges, rewards, and love.«
Nikolaj Nørlund made his solo debut with Navnløs (1996), an interpretation of poems by Michael Strunge, and released Nye Optagelser (1997) the following year, his first Danish-language singer-songwriter album. He has since worked broadly across music and poetry and is behind around 20 releases, both solo and in various band constellations. Nørlund’s projects range from collaborations with Copenhagen Phil on two orchestral albums, created together with author Naja Marie Aidt. His most recent release is the single »Englenes Park (nu ikke saa dark)«, the forerunner to the album Himlen skiftet ud, due for release at the end of November. In addition to his own work, Nørlund has, through the record label Auditorium, produced and released a number of Danish artists, including Niels Skousen, Ulige Numre, Jens Unmack, I Got You On Tape, and Martin Ryum. He was previously a member of Trains And Boats And Planes and periodically works with the English-language project Rhonda Harris. Nørlund has received a Danish Music Award (2003) and a Steppeulv (2006), both as Producer of the Year, as well as the Niels Mathiassen Cultural Award (2012).
