"Connected" marked yet another leap up on Aarset's evolutionary ladder and sits like a prelude to a manifesto. "Connected" perfectly captures Aarset's working method. His musical world is uniquely his, and the vocabulary of his guitar describes it as no one else could. The music has become self-referential, yet manages to retain warmth and openness. The overtly club music aspects of the sound have been fully consumed, and are accompanied by a new glitchiness, courtesy of Jan Bang, Erik Honoré and Raymond Pellicer. Aarset's reflexivity progresses boldly, offering "Changing Waltz", a variation and re-visioning of "Empathic Guitar" from "Light Extracts".
For his fifth album as a leader, Norwegian guitar phenom Eivind Aarset captures the improvisational power and prowess of his expanded Sonic Codex Orchestra. Live Extracts, culled from six different venues over the course of the past year. With minimal editing and no overdubs, this is as close to experiencing Aarset in performance as many will get, and for that reason alone is worthy of attention.....
Most recently, Aarset has appeared on the album "Jazzland Community", a document of the 2006/07 tour featuring Bugge Wesseltoft, Sidsel Endresen, Håkon Kornstad, Marius Rekjø¸ and Wetle Holte. Two Aarset tracks appear, "Connectic" and "Electromagnetic", and two ensemble pieces: "The tour was a great experience for me," says Aarset. "I loved the way our different styles and concepts worked together and came out as a whole unified concert, not just different acts in one show. And the collective improvisation at the end of each concert was amazing. It was always happening."
"Connected" marked yet another leap up on Aarset's evolutionary ladder and sits like a prelude to a manifesto. "Connected" perfectly captures Aarset's working method. His musical world is uniquely his, and the vocabulary of his guitar describes it as no one else could. The music has become self-referential, yet manages to retain warmth and openness.
The next album, "Light Extracts," had much to live up to, and did not disappoint. Again, ambience and club rhythms were present, but the music was becoming a truly separate organism. Where "Electronique Noire" has tracks that could be individually described in terms of genre(s), "Light Extracts" offered music that could only be described in terms of "Aarset-ness". The album features the bass clarinet of Hans Ulrik, an artist Aarset met when recording with Marilyn Mazur's Future Song; Ulrik's sound would lend the album a whole new dimension, and he has appeared on each release since.
Guitarist Eivind Aarset, one of the most exciting, individual and creative voices from the Norwegian jazz underground, saw "Electronique Noir", his first release as a leader, hailed as "One of the best post Miles electric jazz albums" by none other than the The New York Times as well as America's leading jazz magazine Jazz Times and the UK's Jazzwise. Now Light Extracts, his much anticipated follow up album, is set to establish Eivind as one of the key voices in European Nu-Jazz. Once again his music is a here-and-now reflection of the latest, most exciting sounds to be found in jazz, mixing improvisation with rhythms from European club culture, exploring the potential of a music so new it has not yet set any frontiers or rules and the only limits are the limits of the imagination.
In the winter of 2012/13, the Haus der Kunst in Munich – one of Europe’s most important museums for contemporary art – hosted the exhibition ECM – A Cultural Archaeology. The goal of curators Okwui Enwezor and Markus Müller was to show the range of the label’s artistic endeavours in music, graphic art, and photography and its creative interchanges with film, theatre and literature. For this exhibition, Manfred Eicher and Steve Lake created this box-set accentuating directions in ECM's rich musical history. Many themes and streams are touched upon here including the range of composition in the New Series, music for and from films, imaginative historical reconstructions, trans-cultural music, ambient minimalism, and jazz and improvisation of many hues, in a collection with a playing time of more than seven hours.
With the exception of saxophonist Jan Garbarek , fellow Norwegian Arild Andersen —who has a considerably smaller discography as a leader—has created some of the ECM label's most stylistically diverse music since the early 1970s. From exploring the nexus of traditional folk music and improvisation on Sagn to the fusion-centric Molde Concert, the spontaneous composition of Karta and the Nordic Cool-meets-string quartet of Hyperborean, Andersen has explored a host of different angles from which to approach his personal jazz-centricity. ~ AllAboutJazz
Lars Danielsson ACT-debut “Libera me“ (ACTSACD 9800-2) left no doubts about his creative versatility. And yet: the bass player, cellist and composer continues to surprise. His latest ACT-release “Mélange Bleu” (ACT 9604-2) shows up a completely new dimension to this musician with enormous potential. Danielsson has surrounded himself with partners like pianist Bugge Wesseltoft, trumpeter Nils Petter Molvaer und guitarist Eivind Aarset, all of them specialists for mood music that often develops in before a backdrop of ambient inspired sounds, samples and programmed beats.