We’ve updated our Terms of Use to reflect our new entity name and address. You can review the changes here.
We’ve updated our Terms of Use. You can review the changes here.

Varianter av d​ø​de tr​æ​r

by Akiyama/Taxt/Lønning/Reinertsen

supported by
Mark E
Mark E thumbnail
Xtrmst
Xtrmst thumbnail
wolfsdorf
wolfsdorf thumbnail
deichman650
deichman650 thumbnail
Robert Bresnan
Robert Bresnan thumbnail
/
1.
Tversnitt av fuge I 05:10
2.
Poem uten tyngdekraft I 05:10
3.
Tekno I 01:07
4.
爪弾き (Tsumabiki) 03:19
5.
Ti mørke innfallslodd 03:00
6.
Trommeltoner 05:33
7.
Salme på vandring 02:19
8.
Tekno II 01:08
9.
Tverrsnitt av fuge II 04:12
10.
Poem uten tyngdekraft 05:46
11.
Tekno III 01:11
12.
爪弾き (Tsumabiki) II 02:48
13.
Ti mørke innfallslodd II 03:26
14.
Ultradypt felt 04:17
15.
Tverrsnitt av fuge III 01:08

about

On Varianter av døde trær the young Norwegian musicians Martin Taxt, Eivind Lønning and Espen Reinertsen meet the internationally acclaimed guitarist Tetuzi Akiyama from Tokyo. The three Norwegians are highly experienced young improvisers with background from groups like Trondheim Jazzorkester and Music for a Weill. Akiyama says he aims to create music with elements of both primitivism and realism by connecting his own aspirations, in a minimal and straightforward way, to the special instrumental qualities of the guitar. Together with the Norwegian wind players he has created an interesting symbiosis of jazz, folk and contemporary music.

Tetuzi Akiyama - acoustic and electric guitar

Martin Taxt - tuba

Eivind Lønning - trumpet

Espen Reinertsen - tenor saxophone and flute

---------------------------------
Liner notes
Tetuzi Akiyama is a friend of mine, and my colleague musician, and my neighbour. One day, his daily report on himself delivered a news about his latest recording with three Norwegian musicians, which he had done during one of his frequent outings abroad. Like always, he was talking to me as if he was mumbling away to himself, like always, I knew he expected me to listen to his monologue so I was nodding as if I was listening and understood just to be nice and friendly to him. At some point, like always, the vague idea of what he had been talking about started taking its form, and I figured out he was asking me to do mastering work on the recording. No problem. That's what I do for friends' music.

Tetuzi told me that the band members and himself had come to an agreement that they had done an adequate work on sound during the mixing session, so he did not want me to change the sound character so much from the sound of the original mix. All right. I know that. Almost nobody who employs me wants me to touch her/his sound so much. Instead, they often ask me to take care of gaps between pieces, and noise before and after their actual musical performances. Most of musicians prefer clean start and end. They would simply ask me to eliminate all the noise before the music starts, and after the music stops, or ask me to give a track a smooth fade out. Most of the time, I would say OK. But sometimes, I would suggest musicians to leave some bits of those noise, telling them how much I think all those «unwanted noise» could give their music liveliness. Some of musicians agree with my suggestion. So, those narrow gaps between tracks became my area to work on. Thanks to the musicians. Now I am a master of «Before and After.»

It was a blossoming period for cherry trees in Tokyo. The next afternoon, I was walking through a path to go to Tetuzi's place with the master CDR in my hand, under the cherry trees fully blossomed like everywhere in Tokyo. Petals were dancing and showering down in the occasional flurry of wind. I thought of enclose one or two of those petals in the parcel of the master CDR, but I restrained myself from doing so. I sometimes have to behave myself like a clean-cut engineer.

Toshimaru Nakamura, April 2008

credits

released June 9, 2008

Recording location: Kolbotn Church and Lindemansalen, Oslo, Norway
Recording date: Saturday, December 8, 2007
Mastering technician: Toshimaru Nakamura
Mixing technician: Thomas Hukkelberg
Recording technician: Thomas Hukkelberg


On Varianter av døde trær the young Norwegian musicians Martin Taxt, Eivind Lønning and Espen Reinertsen meet the internationally acclaimed guitarist Tetuzi Akiyama from Tokyo. The three Norwegians are highly experienced young improvisers with background from groups like Trondheim Jazzorkester and Music for a Weill.
Akiyama says he aims to create music with elements of both primitivism and realism by connecting his own aspirations, in a minimal and straightforward way, to the special instrumental qualities of the guitar. Together with the Norwegian wind players

license

all rights reserved

tags

about

Sofa Music image

Sofa Music Oslo, Norway

contact / help

Contact Sofa Music

Streaming and
Download help

Redeem code

Report this album or account

If you like Varianter av døde trær, you may also like:

Bandcamp Daily  your guide to the world of Bandcamp

On Bandcamp Radio

Beans joins the show to discuss his album release, "ZWAARD".

listen now