Wednesday, 9 January 2013
Elof & Wamberg – 12 Ornli’ Syge Tracks For ‘Ukulele Og Kontrabass
On the face of it, an album with just ukulele and double bass doesn’t sound too promising. But that’s only because you haven’t heard this. The duo fits some remarkable variety into their tunes and arrangements, ranging from their own compositions to klezmer (Frelekh) and some traditional Danish pieces. Yes, it’s a bit of a cheat, as Nicolaj Wamberg also contributes violin here and there and one of them offers some tralling on the opener Halling. But it’s certainly the ukulele as you’ve never heard it before. It’s known as a very subtle instrument for melody lines, by Tobias Elof makes it into something magical. Also worth mentioning is the interplay between the pair of musicians, always easy and often complex. There’s plenty of beauty, like the delicious Mia (where the uke sounds like a guitar) or the jaunty picking of J.F. Polka (with added whistling). Yes there’s a fair bit of overdubbing, but when listening is this much fun, who cares? Uke Talk is a real rag-style workout, demanding on the player, and Elof is more than up to the challenge. Finishing with a well-loved Carl Nielsen piece is a masterstroke, adding to the Danish feel that lies under the entire disc. Odd, lovely, and a must for all ukulele fans.
Tuesday, 8 January 2013
Johanna-Adele Jüssi – Kiilid
Johanna-Adele Jüssi is a busy woman, a member of several bands, although this is the first disc to come out under her own name and she’s backed by the members of her eponymous band, one member from most of the Nordic countries (two from Estonia, and although none of the musicians are Finnish, the recording engineer is. So it’s a very mixed recording, reflecting Jüssi’s own experiences in the Northlands. The material is a mix of traditional Danish pieces, including Mahlane, which could only be a Rasmus Storm tune, along with traditional Estonian and a handful of originals. The dual fiddles on five of the tracks offers a beautiful chance for unison and harmony playing, and the backing of bass and guitar is sparse, letting the bows take centre stage. There’s an understated elegance to Jüssi’s playing. It’s very sparse in that way Norse fiddlers manage (indeed, at times she seems more Swedish than Danish), although she brings glowing rhythms to the dance pieces, including the odd rhythm of the Hopsa. There’s also plenty of elegance, best shown on Tiirud, which almost glows. She definitely makes the violin sing in several different ways. Very much a player who’s going to go places.
Monday, 7 January 2013
Hal Parfitt-Murray & Nikolaj Busk - Music from the Edge of the World
The second album from this pair of multi-instrumentalists is a soundtrack to a fairy story – or a concept album, if you’re of a certain age. It certainly builds on their debut (which brought them several awards in Denmark, where both live), covering a lot of musical territory (from Maghrebi to Sibelius and Leon Rosselson, as well as plenty of originals) while still managing to sound cohesive and with that slight touch of alien magic, especially on the rather woozy Competitive Dance. Without doubt it’s a folk album; a listen to The Snows They Melt The Soonest dispels any doubts on that score, with an excellent unaccompanied Parfitt-Murray vocal, and he’s also adept on all things bowed or plucked, while Busk, who’s also part of Trio Mio, adds all manner of keyboards. There’s experimentation here, and sometimes the unexpected, like the inclusion of Wa Habibi or Music For Looking Over The Edge, which sounds like a CD player stuck on repeat but turns out to be a clever trick of Philip Glass-style minimalism (although it might have most people clicking fast forward), before the cabaret-circus feel of The National Anthem. This really is a journey, one that goes through some strange places, a few wild, a few quite surreal, but the ride is more than worth it.
Thursday, 15 December 2011
Basco - Big Basco
Basco
Big Basco
Go’ Danish Folk Music GO0811
Basco has grown since their last album – literally. The energetic four-piece has added three brass players to fill out and change their sound. Although there’s still the great glee of writing in several traditions (for a Danish band there’s only a small amount of Danish influence on this album), the brass adds deeper resonance and possibilities, bringing extra solemnity to “Hymn,” for instance, and upping the romping, jollity factor on the traditional “Jacky Tar,” making it reminiscent of a Bellowhead outing – the lineup is bound to invite comparisons – although without the forceful central personality of Jon Boden. But then again, Bosco don’t want to by copyists; they’re forging their own sound, and a thrilling one it is too. The brass enhances every piece, and the tunes are exceptional throughout, with a special mention for the gentle, lush closer, “Lova Lova.” Given an interest in bigger bands in Danish folk music (think Habadekuk), this might be a trend. There’s great music here, and you could think of Bosco as having moved several steps along – and don’t forget the wit that’s part of the package, either.
Big Basco
Go’ Danish Folk Music GO0811
Basco has grown since their last album – literally. The energetic four-piece has added three brass players to fill out and change their sound. Although there’s still the great glee of writing in several traditions (for a Danish band there’s only a small amount of Danish influence on this album), the brass adds deeper resonance and possibilities, bringing extra solemnity to “Hymn,” for instance, and upping the romping, jollity factor on the traditional “Jacky Tar,” making it reminiscent of a Bellowhead outing – the lineup is bound to invite comparisons – although without the forceful central personality of Jon Boden. But then again, Bosco don’t want to by copyists; they’re forging their own sound, and a thrilling one it is too. The brass enhances every piece, and the tunes are exceptional throughout, with a special mention for the gentle, lush closer, “Lova Lova.” Given an interest in bigger bands in Danish folk music (think Habadekuk), this might be a trend. There’s great music here, and you could think of Bosco as having moved several steps along – and don’t forget the wit that’s part of the package, either.
Saturday, 6 August 2011
Beginner's Guide to Scandinavia
It's not Danish, I know, but a few Danish artists are included...
Various Artists
Beginner’s Guide to Scandinavia
Nascente NSBOX079
This 3-CD budget collection really does make a very fair introduction to modern Scandinavian music – that’s Scandinavian in the inclusive sense, adding in Iceland, Finland, Greenland and the Faroe Isles. Each of the discs has a theme – Pop & Contemporary, Folk & Roots, and Jazz, Experimental & Atmospheres, but the borders between them are very fluid – Valrav could easily be in folk rather than pop, for instance, while Kimmo Phojonen might just as easily have fitted in Experimental. The pop disc is nowhere near as fluffy and vapid as it could have been, with Lars Demian sounding Serge Gainbourg weary on “Alkohol” and Cornelis Vresswijk channelling inspiration from Jacques Brel on “Samba For Pomperipossa.” There’s no Robyn, sadly, one of the best pop stars to come from the region, but there is the sweet acoustic indie sensibility of Pascal Pinon, the foiktronica of Valravn and Pohjone’s barely contained strangeness.
The folk disc does offerme moderately well-known names – Värttinä, Maria Kalaniemi, Annbjørg Lien and a couple of others, But it does also shine a spotlight on others, such as Eivor, who deserve more fame for their adventurous work, as well as Morild, Hedningarna and BOOT. It goes some way to showing the range of Nordic folk music being produced, and the fact that roots music has enjoyed a real resurgence is some of the countries thanks to university degree programmes (Finland and Denmark), while other countries, like Norway and Iceland, are still lagging behind in delving into their folk traditions, at least on a more global stage.
But its disc three that holds the greatest adventures, the music that tends to defy easy definition. From Benny Anderssons Orkester (yes, the former ABBA man) to the joiking of Wimme and Mari Boine, it’s a lesson in possibilities. Nordic jazz has long show a different, more abstract, sensibility than its American counterpart, and you can hear that in the piece by Karl Seglem, where sax mixes in new, ornate ways with folk music (Gjermud Larsen draws from folk in similar ways, too), or the excerpt from the beautiful, breathless “Judas Bolero” from Lars Danielsson or the voice and ice instruments used by Terje Isungset. It’s perhaps apt to end with a pair of Samí tracks, a people whose nomadic ways have taken them across many of the Nordic countries. Both Mari Boine and Wimme have been relentlessly experimental, and the tracks here highlight that, as well as the innate beauty of the joik. Put all together, it’s a fascinating primer on Nordic music, one that stays clear of the main highways and focuses on the smaller, less-driven roads – but the scenery there is always more interesting.
Various Artists
Beginner’s Guide to Scandinavia
Nascente NSBOX079
This 3-CD budget collection really does make a very fair introduction to modern Scandinavian music – that’s Scandinavian in the inclusive sense, adding in Iceland, Finland, Greenland and the Faroe Isles. Each of the discs has a theme – Pop & Contemporary, Folk & Roots, and Jazz, Experimental & Atmospheres, but the borders between them are very fluid – Valrav could easily be in folk rather than pop, for instance, while Kimmo Phojonen might just as easily have fitted in Experimental. The pop disc is nowhere near as fluffy and vapid as it could have been, with Lars Demian sounding Serge Gainbourg weary on “Alkohol” and Cornelis Vresswijk channelling inspiration from Jacques Brel on “Samba For Pomperipossa.” There’s no Robyn, sadly, one of the best pop stars to come from the region, but there is the sweet acoustic indie sensibility of Pascal Pinon, the foiktronica of Valravn and Pohjone’s barely contained strangeness.
The folk disc does offerme moderately well-known names – Värttinä, Maria Kalaniemi, Annbjørg Lien and a couple of others, But it does also shine a spotlight on others, such as Eivor, who deserve more fame for their adventurous work, as well as Morild, Hedningarna and BOOT. It goes some way to showing the range of Nordic folk music being produced, and the fact that roots music has enjoyed a real resurgence is some of the countries thanks to university degree programmes (Finland and Denmark), while other countries, like Norway and Iceland, are still lagging behind in delving into their folk traditions, at least on a more global stage.
But its disc three that holds the greatest adventures, the music that tends to defy easy definition. From Benny Anderssons Orkester (yes, the former ABBA man) to the joiking of Wimme and Mari Boine, it’s a lesson in possibilities. Nordic jazz has long show a different, more abstract, sensibility than its American counterpart, and you can hear that in the piece by Karl Seglem, where sax mixes in new, ornate ways with folk music (Gjermud Larsen draws from folk in similar ways, too), or the excerpt from the beautiful, breathless “Judas Bolero” from Lars Danielsson or the voice and ice instruments used by Terje Isungset. It’s perhaps apt to end with a pair of Samí tracks, a people whose nomadic ways have taken them across many of the Nordic countries. Both Mari Boine and Wimme have been relentlessly experimental, and the tracks here highlight that, as well as the innate beauty of the joik. Put all together, it’s a fascinating primer on Nordic music, one that stays clear of the main highways and focuses on the smaller, less-driven roads – but the scenery there is always more interesting.
Wednesday, 29 June 2011
A Kristian Bugge Fest
Habadekuk
Hopsadaddy
Go’ Danish Folk Music GO1710
Impuls Trio
Bugge, Bæk & Vinther
Go’ Danish Folk GO0711
Jensen & Bugge
Hav og Land – 10 År med Dasnk Traditionel Musik
Go’ Danish Folk Music GO0611
Dwight Lamb & Jensen & Bugge
Live in Denmark 2010
Go’ Danish Folk GO0411
It’s a bit of a Kristian Bugge fest. For now at least, he’s the hardest working man in Danish folk. Habadekuk is certainly the more adventurous of the discs here, featuring not only Bugge’s fiddle, but also accordion, guitar, bass, piano, drums and three brass players. The nearest analogy might well be Bellowhead, although this is all instrumental. It certainly offers another, kicking take on the Danish tradition, whether stomping on Proptræken or offering something slow and melodic like Spilledåsen. It’s more straightforward than Bellowhead, but still wonderfully exciting, with superb arrangements that often build to a roar and make full use of having the brass section in this nine-man outfit. They do look to the repertoire of Æ Tinuser, one of the seminal Danish bands that featured trombone. But this is definitely music for dancing – hard to keep still, in fact.
The Impuls Trio disc is much more low-key, mixing fiddle with guitar (and mandolin) as well as accordion from Phønix’s Jesper Vinther. The focus here is on rare old tunes, and the sources are carefully noted. These pieces are well worth discovering, and the playing is delicate and exquisite. Not every tune here is ancient – some date from the middle of the 20th century or later in the case of Læsø Rejlænder. There are a few guests (sparing use of trombone, drums and double bass) and the arrangements are exquisite, making full use of the different tones of the instruments and setting them against each other, melodically and rhythmically. The trio are very evenly matched, and there’s huge joy in the music making here, with a real sense of playfulness. It’s a very different kind of treasure to the big band, but that doesn’t mean its treasures aren’t every bit as rich.
Bugge has been playing in a duo with accordionist Mette Kathrine Jensen for a full decade now, although they’ve known each other since childhood. That easy familiarity translates into the music here, whether it’s just the two of them or the full band (clarinet, guitar, double bass). This is (mostly) traditional dance music – they play many dances – performed not only with great vigour, but absolute pleasure. The sources are from all over the country. There’s a huge amount of skill here; this isn’t raw music from the country, but refracted through some highly sophisticated musical sensibilities who just happen to love, and have the feel for, traditional dance music. It makes for a fabulous, lively disc, and the clarinet brings an interesting, almost exotic tone to the band tracks.
Finally there’s the real trump card in the Kristian Bugge pack. It features Jensen & Bugge (along with guests – pianist Vagn Dahl Hansen and older accordion player Karl Skaarup) but the real star of the show is accordion player Dwight Lamb, from Iowa. He’s the great grandson of Danish musician Kræn Jerup, who left Vendsyssel in Denmark for the US in the 1800s. The old music – played very much in the old style – was handed down, making Lamb a repository of tunes otherwise forgotten. The three of them have played together periodically over the last couple of years, and brought Lamb to Denmark in 2010 to see the mother country – and play a few shows. This is the result, and it’s wonderfully stirring. It’s definitely old-time music, Danish style. Still ineffably Danish, but with the patina of history on the notes. It’s to J&B’s credit that they’re happen to take back seats and let the real tradition shine
Hopsadaddy
Go’ Danish Folk Music GO1710
Impuls Trio
Bugge, Bæk & Vinther
Go’ Danish Folk GO0711
Jensen & Bugge
Hav og Land – 10 År med Dasnk Traditionel Musik
Go’ Danish Folk Music GO0611
Dwight Lamb & Jensen & Bugge
Live in Denmark 2010
Go’ Danish Folk GO0411
It’s a bit of a Kristian Bugge fest. For now at least, he’s the hardest working man in Danish folk. Habadekuk is certainly the more adventurous of the discs here, featuring not only Bugge’s fiddle, but also accordion, guitar, bass, piano, drums and three brass players. The nearest analogy might well be Bellowhead, although this is all instrumental. It certainly offers another, kicking take on the Danish tradition, whether stomping on Proptræken or offering something slow and melodic like Spilledåsen. It’s more straightforward than Bellowhead, but still wonderfully exciting, with superb arrangements that often build to a roar and make full use of having the brass section in this nine-man outfit. They do look to the repertoire of Æ Tinuser, one of the seminal Danish bands that featured trombone. But this is definitely music for dancing – hard to keep still, in fact.
The Impuls Trio disc is much more low-key, mixing fiddle with guitar (and mandolin) as well as accordion from Phønix’s Jesper Vinther. The focus here is on rare old tunes, and the sources are carefully noted. These pieces are well worth discovering, and the playing is delicate and exquisite. Not every tune here is ancient – some date from the middle of the 20th century or later in the case of Læsø Rejlænder. There are a few guests (sparing use of trombone, drums and double bass) and the arrangements are exquisite, making full use of the different tones of the instruments and setting them against each other, melodically and rhythmically. The trio are very evenly matched, and there’s huge joy in the music making here, with a real sense of playfulness. It’s a very different kind of treasure to the big band, but that doesn’t mean its treasures aren’t every bit as rich.
Bugge has been playing in a duo with accordionist Mette Kathrine Jensen for a full decade now, although they’ve known each other since childhood. That easy familiarity translates into the music here, whether it’s just the two of them or the full band (clarinet, guitar, double bass). This is (mostly) traditional dance music – they play many dances – performed not only with great vigour, but absolute pleasure. The sources are from all over the country. There’s a huge amount of skill here; this isn’t raw music from the country, but refracted through some highly sophisticated musical sensibilities who just happen to love, and have the feel for, traditional dance music. It makes for a fabulous, lively disc, and the clarinet brings an interesting, almost exotic tone to the band tracks.
Finally there’s the real trump card in the Kristian Bugge pack. It features Jensen & Bugge (along with guests – pianist Vagn Dahl Hansen and older accordion player Karl Skaarup) but the real star of the show is accordion player Dwight Lamb, from Iowa. He’s the great grandson of Danish musician Kræn Jerup, who left Vendsyssel in Denmark for the US in the 1800s. The old music – played very much in the old style – was handed down, making Lamb a repository of tunes otherwise forgotten. The three of them have played together periodically over the last couple of years, and brought Lamb to Denmark in 2010 to see the mother country – and play a few shows. This is the result, and it’s wonderfully stirring. It’s definitely old-time music, Danish style. Still ineffably Danish, but with the patina of history on the notes. It’s to J&B’s credit that they’re happen to take back seats and let the real tradition shine
Tuesday, 7 June 2011
Fiolministeriet
Fiolministeriet
Fiolministeriet
Go’ Danish Folk Music GO0511
One of the great beauties of Danish folk music is its malleability. In large part this is because the music is largely instrumental, so the framework of the song can be forgotten. The Fiddle Ministry (which is how the band’s name translates) has a wonderful time turning Danish folk into neo chamber music (along with a couple of original pieces). The lineup – two violins and a cello – gives them plenty of scope for their purpose, and the background that all the players have in folk music means this isn’t dilletantism at all. The pull from some well-known manuscript books for their material, including the wonderful work of Rasmus Storm, back when English music was a great influence on Denmark (in fact they take “Storm/Engeliska”). They can play with great delicacy when needed and then push up the passion and even add nice touches of humour to the proceedings. By offering such a different take on traditional music they open it up to a new audience (no bad thing) and expand the possibilities for the music in the future (also no bad thing). Danish music continues to be the most exciting prospect in Europe, and Fiolministeriet adds to its glory.
Fiolministeriet
Go’ Danish Folk Music GO0511
One of the great beauties of Danish folk music is its malleability. In large part this is because the music is largely instrumental, so the framework of the song can be forgotten. The Fiddle Ministry (which is how the band’s name translates) has a wonderful time turning Danish folk into neo chamber music (along with a couple of original pieces). The lineup – two violins and a cello – gives them plenty of scope for their purpose, and the background that all the players have in folk music means this isn’t dilletantism at all. The pull from some well-known manuscript books for their material, including the wonderful work of Rasmus Storm, back when English music was a great influence on Denmark (in fact they take “Storm/Engeliska”). They can play with great delicacy when needed and then push up the passion and even add nice touches of humour to the proceedings. By offering such a different take on traditional music they open it up to a new audience (no bad thing) and expand the possibilities for the music in the future (also no bad thing). Danish music continues to be the most exciting prospect in Europe, and Fiolministeriet adds to its glory.
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