Manafonistas

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2022 19 Jul

Erlend allein im Mausoleum

von: Michael Engelbrecht Filed under: Blog | TB | Tags:  | 3 Comments

 

 

Für mich eines der zehn, zwölf aufregendsten Alben aus dem Hause Hubro, und das will was heissen. Wie der Norweger den Raum miteinbezieht, ist schlicht beeindruckend. Wir kennen berühmte Aufnahmen an ungewöhnlichen Orten, von Paul Horn, Paul Giger, Pink Floyd. Beispielsweise. Pyramide. Chartres. Pompeji. Erlend Apneseth vertreibt die Stille nicht im immensen Dunkel. Er setzt auf call & response. Und vermeidet es, das Unheimliche heimelig zu gestalten. Nothing cozy, no horror sound show either. NOVA erscheint am 20. August. Hardangerfiedel solo par excellence.

Erlend Apneseth does not dispel silence. He relies on call & response. Avoids making the uncanny seem homely. Nothing on the cozy side, no pretending to play it dark either.

This entry was posted on Dienstag, 19. Juli 2022 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.

3 Comments

  1. Michael Engelbrecht:

    Mittwoch, 27. Juli 2022 um 13:18

    Mehr dazu in den JazzFacts im Deutschlandfunk am 5. August, 21.05 Uhr …

  2. Steve Tibbetts:

    Mittwoch, 27. Juli 2022 um 20:39

    I really love Hubro. We had lunch with the director / president / boss at PUNKT about them getting the rights to Knut Hamre’s record. I’d happily hand it over if they could figure out a way out of the contract with Rykodisc (or whoever the company is owned by now). He gave me a few Hubro releases and I listened to them over and over.

  3. Michael Engelbrecht:

    Mittwoch, 27. Juli 2022 um 23:30

    On Knut Hamre‘s album Å, with Steve Tibbetts:

    „Think of Steve Tibbetts‘ musical world as a closely guarded enclave. His themes and methods are consistent and highly devel­oped, but outsiders are infrequently admitted.

    The music has evolved gradually as the gui­tarist selectively and thoughtfully incorporates external influences. In recent years, he’s absorbed musical elements from Indonesia, Tibet and Norway. Å (just say „ah“) successful­ly joins the hardingfele, a.k.a. hardanger fiddle, with Tibbetts‘ distinctive, often beautiful con­structions. Emblematic of Norwegian folk music, the hardingfele features four sympathet­ic strings that generate its characteristic micro­tones.

    In Utne, Tibbetts recorded fiddlers Knut Hamre and Turid Spildo performing tunes inspired by traditional themes. Back home, he manipulated and processed the tapes adding rhythm tracks from percussionist Marc Anderson and bassist Anthony Cox, as well as acoustic guitar and samples.

    Fidelity to Norwegian folk tradition is highly suspect, but Å fits very well within. the contempla­tive, acoustic vein of Tibbetts‘ recordings. The cyclical melodies and edgy harmonies of the fid­dles are always focal points of these arrange­ments. Tracks like „Spelar Guro“ and „Huldra­rmi“ suggest dance rhythms and benefit from the support of Cox’s bass, though it’s well back in the mix. Tibbetts surrounds Hamre’s plaintive, bitter­sweet melodies with airy but subtly detailed musical environments. In these settings, the gui­tar offers continuity and warmth, though it’s rarely the center of attention.

    This CD presents a curious context for the hardingfele, and the high, chilly sound of the fiddle will challenge the unini­tiated listener. Given its limited expressive range, the hardingfele’s allure can wear thin over the course of 12 tracks.“

    -Jon Andrews (Downbeat, 1999)

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