Available languages: EnglishBoundary-crashing Norwegian big band Jaga Jazzist have found favor among fans of post-rock, progressive jazz, and left-field dance music, among other styles. Led by composer and multi-instrumentalist Lars Horntveth, the group sports an ever-shifting lineup comprised of some of the most talented musicians from Norway's jazz and experimental music scenes. On albums such as 2001's A Livingroom Hush, the group spiked their rhapsodic, energetic jazz tunes with glitches, noise effects, and breakbeat-like drumming, splicing influences such as Tortoise, Charles Mingus, and Squarepusher. Later efforts such as 2010's One-Armed Bandit were less electronic and closer to progressive rock, with 2015's Starfire and 2020's Pyramid consisting of lengthy suites, as opposed to the shorter songs of their earlier albums. The sprawling jazz-meets-electronics ensemble came to life in 1994 when their main brain and songwriter, Lars Horntveth, was only 14. Two years later their debut album, Jævla Jazzist Grete Stitz, appeared, and Norwegians got their first taste of the band's combination of jazz chops and electronic quirkiness, which additionally incorporated genres such as rap and reggae. Two years after that the Magazine EP appeared, but it was 2001's A Livingroom Hush that grabbed all the attention due to rave reviews and distribution by Warner Bros. in their homeland. Coldcut's label, Ninja Tune, picked the album up for worldwide distribution in 2002 and BBC radio listeners crowned it the Jazz Album of the Year. The Animal Chin EP appeared in early 2003, introducing Jaga Jazzist to American listeners, and was followed by The Stix, an album that found the band using more electronics and drum'n'bass-inspired rhythms. The more rock-influenced What We Must followed in 2005 before a five-year break took the band out of the studio and off the road. Jaga Jazzist returned in 2010 with One-Armed Bandit, featuring new recruit Stian Westerhus on guitar, though he left the group after that recording. The band's next project was its most ambitious to date: a concert recording with the 25-member Britten Sinfonia, which found the group in a sprawling, colorful collaboration with one of England's finest modern classical orchestras to present something that stretched the creative boundaries of both groups. The recorded evidence, Live with the Britten Sinfonia, was issued in May of 2013. A suite of songs based on the constellations, and how views of the stars change around the globe, the 2015 album Starfire was influenced by Horntveth's move from Norway to Los Angeles. "Prokrastinopel," a non-album single featuring Swedish guitarist Reine Fiske (Dungen, Fire! Orchestra), appeared in 2017. The group returned in 2020 with Pyramid, a set of four lengthy compositions recorded in just two weeks, making the release one of their most spontaneous efforts. The self-produced album appeared on Brainfeeder, the Flying Lotus-curated Los Angeles imprint.
© David Jeffries /TiVo
19 albums gesorteerd op Meest aanbevolen
Mijn zoekopdracht verfijnen
Electronic - Verschenen op 7 augustus 2020 | Brainfeeder
Hi-Res Onderscheidingen 4F de Télérama
Pyramid, the ninth album from Norwegian instrumental juggernaut Jaga Jazzist, opens with a track called "Tomita." That suggests some sort of homage to the pioneering Japanese electronic musician Isao Tomita, creator of massive film-score soundscapes and clever arrangements of classical favorites on analog gear. Sure enough, the piece begins in a Tomita zone, with a majestic opening theme surrounded by placid swirls of synths dancing into the foreground then disappearing. The rhythm kicks in after four or so minutes, and then the atmosphere changes completely: Suddenly we're in a sleek vehicle on an open road, moving rapidly and with little effort, gliding. This section—and with Jaga Jazzist, the compositions routinely stretch to epic length, with broad themes tumbling into extended, super-intricate development sections—is a less obvious tribute. The eight musicians essentially reverse-engineer Tomita's slippery-eel swerves for a live band situation. They strive for the feeling of fluidity, the streamlined melody-forward simplicity of Tomita's creations. It's a welcome development. On previous Jaga Jazzist records, the marathon excursions sometimes seem overwritten and jumbled together—small curiosities waiting to be threaded into a unifying big idea. Not here. Each of the four suites—especially the surging triple-meter romp "The Shrine" (named for Feli Kuti's club in Nigeria)—has clear and inventive melodies threaded into picturesque and approachable textures. Follow these, and you quickly realize that typical considerations of "song" are just level one. Jaga Jazzist, like Tomita and so many electronic musicians, are in the business of creating vast and totally engrossing journeys in sound. © Tom Moon/Qobuz