(Modern Creative, Electronic) Bugge Wesseltoft, Henrik Schwarz & Dan Berglund - Trialogue - 2014, MP3, 320 kbps

Легендарный норвежский пианист и композитор Бугге Вессельтофт – один из самых ярких представителей норвежского джаза. Он приходится сыном гитаристу Эрику Вессельтофту. Бугге рано приобщился к музыке, играл на тубе и бас-барабане в школе и на клавишных в местных группах. В 16 лет он начал выступать в панк-группе, но влияние отца было сильнее, и с середины 80-х годов он в основном сосредоточился на джазовой музыке. Бугге Вессельтофт стал одним из родоначальников направления Future Jazz. На счету Бугге работа со многими известнейшими представителями европейского джаза, среди которых Ян Гарбарек, Нильс Петтер Молвер, Терье Рипдал, Арилд Андерсен и многие другие. Пианист является обладателем нескольких престижных премий Spellemannprisen, которые являются аналогом Грэмми в Норвегии, а также основателем культового лейбла «JazzLand», на котором издавались Beady Belle, Sidsel Endresen, Mari Boine, Torun Eriksen, Eivind Aarset, Live Maria Roggen, Ola Kvernberg, Dhafer Youssef, Jon Balke и многие другие. Музыкант сосредотачивается не только на интернациональных проектах – альбомы ОК World (2014), Bugge & Friends (2015), но и на работе в классическом пиано-трио (проект Rymden совместно музыкантами из трио легендарного пианиста Эсбьёрна Свенссона – басистом Дэном Берглундом и барабанщиком Магнусом Эстрёмом), а также на демонстрации своих возможностей как сольного исполнителя-пианиста – альбомы It's Snowing On My Piano (1997), Last Spring (2012), Everybody Loves Angels (2017).
https://en.wikipedia.org/wiki/Bugge_Wesseltoft

#777Jens Christian Bugge Wesseltoft (born 1 February 1964) is a Norwegian jazz musician, pianist, composer and producer, son of the jazz guitarist Erik Wesseltoft.
Wesseltoft was born in Porsgrunn. After high school in Skien, where he was involved in the school brass band and dance orchestras, he became a professional musician in 1983 only 19 years old. By the age of 16, he joined a punk rock band, but the influence of the jazz guitarist father, stalked on him. After moving to his father in Oslo (1984), it was mostly music with roots in jazz that mattered, although he also worked as a back-up musician and producer for the pop and rock elite in Norway. He had originally intended to study music, but the gigs were too many, and therefore he never got any further formal musical education. Towards the end of the 1980s Bugge Wesseltoft was involved in a variety of pop, rock and jazz bands like the "U and Z", "Et Cetera" and most important the Oslo Groove Company, and he was recognised as a coming musical genius with a great talent for the piano.[citation needed] This led to collaborations within the Knut Riisnæs Quartet in 1989, and he was soon after contacted by Arild Andersen to join in on the commissioned work for Vossajazz - released on the album Sagn (1990) - and the follow up Arv (1993), and Jan Garbarek for his Molde Canticle (1990), a commission from the Moldejazz, released on the album I Took Up the Runes (1990).
Bugge Wesseltoft had a great impact on the Norwegian Jazz scene at the beginning of the 1990s, while going through a transition from Nordic jazz traditions exemplified by the ECM label to a style sometimes referred to as "future jazz" or nu jazz. There after he toured extensively on the international Jazz scenes, performing both jazz and rock concerts to live audiences, and on a series of recordings on his own Jazzland label. Bugge Wesseltoft collaborated with a series artists in this period, like the guitarists Terje Rypdal and Jon Eberson, and in the mid-90's he toured and recorded the album Billy Cobham presents Nordic – Off Color (1999) together with Billy Cobham. For many years he collaborated with the experimental jazz vocalist Sidsel Endresen, and was in the lineup for her commissioned work at the Moldejazz in 1993, which was released on the album Exile (1994). His own commissioned work A Little War Story for the Vossajazz was also performed in 1993. Bugge Wesseltoft formed his own band the 'New Conception of Jazz' in 1995, and their first album New Conception of Jazz (1996), was awarded a Spellemannprisen in 1996.
During the 1990s the music of Bugge Wesseltoft found an audience on the Norwegian techno and dance music scenes. The connection with the club world led to the 2000 release of Jazzland Remixed, which enhanced his reputation even more with the younger audience. Firmly committed to electronic music, he completely eschews acoustic forms and is just as adamant that he will not be tied by genre boundaries, bringing hip-hop and other contemporary dance music forms into his concept of contemporary jazz. On the album Sharing (1998) many were taken by surprise by his extensive use of club DJ's and scratchers.
The track "Existence" could be heard in Philippe Harel's movie Extension du domaine de la lutte, an adaptation of Michel Houellebecq's 1994 novel.
John Kellman of the All About Jazz magazine recognized Bugge Wesseltoft Solo appearance at The Punkt Festival, Kristiansand, Norway, September 2013, as one of his 25 "Best Live Shows of 2013".
https://en.wikipedia.org/wiki/Bugge_WesseltoftFor over 20 years Henrik Schwarz has been one of the most sought-after producers of electronic dance music. His background is the Chicago/Detroit techno culture, but his musical career straddles many different projects. He has composed film and ballet scores, as well as creating commissioned works for orchestras, chamber ensembles, cooperation with the likes of Nik Bärtsch, Hauschka, Guem. Schwarz produces dance mixes and productions for legends like Michael Jackson, Boy George, indie stars The Foals, Ane Brun, singers Mari Boine, Mark Murphy, Raoul Midon, Ethnic Heritage Ensemble and many more. He performs at music festivals at major dance clubs throughout the globe.A rock music lover at heart Berglund been one important third of the group E.S.T., the Esbjorn Svenson Trio. He made his way from the Royal Music University of Stockholm to the largest venues all around the globe. Dan Berglund is legendary for his deep and full “Mingus-like” bass tone and his “Jimi Hendrixs-like” solos, using all manner of effects to make the double bass sound like screaming electric guitars. This has made him the sensation in many of e.s.t.´s concerts. After the untimely and tragic death of Esbjörn Svensson, Dan Berglund formed his own band, TONBRUKET, for which he also composes. Besides Dan Berglund, Tonbruket consists of Johan Lindstroem (guitars), Martin Hederos (piano) and Andreas Werliin (drums). His addition to what was a duo does not merely mean it is "The Wesseltoft-Schwarz Duo plus Dan Berglund": his distinctive bass style and tone, and his attitude to composition and improvisation have reshaped the duo into a measurably different entity.
https://www.buggewesseltoft.com/-henrik-schwarz-dan-berglund

When Bugge Wesseltoft and Henrik Schwarz produced their collaboration "Duo", it was clear that their synergy was both unique within, and revitalizing to, the whole genre of electro-acoustic beat-based improvisation. Now the duo becomes a trio, and the dialogue becomes a Trialogue.
Bassist Dan Berglund (est, Tonbruket) brings additional dimensions and a whole new range of improvisational possibilities, new musical conversational topics, and a completely new layer of sound, giving this project a different drive, yet retaining the spirit of the Duo project. A will to surprise – not just the audience, but themselves as well – dominates proceedings.
Moments of quasi-ambient atmosphere sit alongside driving energetic swathes of blues-inflected jamming from the future, near-metallic semi-sinister meteor storms of sound rest easily beside moments of classic jazz noire, and there is a marked assimilation of classical chamber sensibilities. Pokerfaced humour laces intricately woven improvisations, and the harmonic interplay guides the listener into passages of sumptuous soloing from Wesseltoft and Berglund.
Minimalist structures are re-crafted, building in hints of folk, eastern essences, spaciousness, and baroque inflections. A certain smoky jazz ambience pervades the whole, punctuated by moments where it feels like aliens have attempted to reconstruct jazz with just a few strands of musical DNA. Passages of the music are saturated with a fragile tension, bowed bass, lingering piano phrases, and endless static chatter. Sparse introductions seeming melt effortlessly into very tangible chord structures underpinned by gentle but insistent beats.
Yet this album is less overtly "electronic" than the Duo album created by Wesseltoft & Schwarz. Two of the 8 tracks on Trialogue (Movement Eleven and Movement Seventeen) feature an expanded acoustic line-up of strings and trombone, provided by musicians of the Orchestre Philharmonique du Luxembourg. The result is a more diverse soundscape, the sonic variations creating a different kind of engagement, bringing with them hints of classical chamber music, yet ably underpinned by echoes of rhumba, fusion, and perhaps even the faintest rumble of prog rock.
Where other musicians have engaged in similar stylistic juxtapositions, Wesseltoft, Schwarz and Berglund set themselves apart by managing the near-impossible feat of making a perfectly coherent aesthetic, a complete musical language of their own. This is a thoroughgoing post-postmodernist soundworld (let us leave it to critics to name it, as is their wont). What fans will recognise instantly is, simply put, great music.
released October 10, 2014
https://www.buggewesseltoft.com/-henrik-schwarz-dan-berglund

"Movement Eleven" & "Movement Seventeen"
feature musicians of the Orchestre Philharmonique du Luxembourg:
Damien Pardeon - violin
Jean-Marc Apap - viola
Laurence Vautrin - cello
James Kent - bass trombone[/spoiler ]