Since the Norwegian keyboardist in 1990 as a member of the band of bassist Arild Andersen entered the international jazz scene, he has undergone a truly impressive conversion: path of the Nordic jazz traditions, which he, inter alia, with compatriots like Jan Garbarek and Andersen harbored on albums for ECM and used to go to his own new conception of jazz, who does not hesitate to integrate equal elements of deep house, ambient music, drum'n'bass, big beat and radio ,
Jazz from Norway has for decades worldwide - except of course in Norway itself - have been primarily associated with the native to MÜnchen ECM label of German producer Manfred Eicher. Since Eicher 1970 (usually in the team with the excellent Oslo engineer Jan Erik Kongshaug) recordings by Jan Garbarek, Terje Rypdal, Arild Andersen, Sidsel Endresen, Jon Balke and last Ketil Bjornstad produced and launched an international success, the ECM label applies under other than hatching spot this special version of the Jazz.
Notwithstanding the fact barely About hearer fact that Garbarek, Rypdal, Andersen and Co. Despite some similarities but have very different musical idiosyncrasies, carpentered European and American critics - in most cases do not even maliciously - with professional dedication of more or less nice folkloric clichés a drawer, in which henceforth all Norwegian jazz artists were put into it as unquestioned as unreflective.
For precisely this cliché drawer hopped 1996 like a jack-in the then 32 year old keyboardist and sound tinkerer Jens Bugge Wesseltoft with his album "New Conception Of Jazz". Wesseltoft Although musical biography has a whole series of connection points for most of the aforementioned Norwegian artist. but In addition he also worked with stylistically very different oriented artists like the drummer Billy Cobham and the Brazilian pop star Gilberto Gil.
"I wanted to make something that reflects all of my musical personality that," said keyboardist 1996 the concept of its recording. Here, the Jazz is definitely Wesseltoft Starting point. His father is a well-established in Norway Jazz guitarist and so grew Bugge home with records like Miles Davis' "Kind Of blue" on. Like many aspiring jazz musicians of his generation, he drew inspiration primarily from American greats like Miles Davis, John Coltrane, Herbie Hancock and Chick Corea. These were joined thanks to the Norwegian origin but soon also models of the caliber January Garbarek, Terje Rypdal, Arild Andersen and Jon Christensen.
Later, after he himself had taken a musical career, could Bugge Wesseltoft cooperate with these four Norwegian "Jazz gurus" and learn a lot from them. As much to Wesseltoft but umgetan also in the field of contemporary Norwegian rock music, both as an instrumentalist and as a producer. All this led him musically finally to where it can be found today and also between all the stylistic chairs. And the broad spectrum of its various experiences flowed on very naturally also in his "new jazz concept of" one.
"I like to improvise over a certain shape or Soundscapes" admits Wesseltoft. "It fascinates me to create rhythmic elements and manipulate a soundscape metric. That is always more interesting and creative than herunterzuspulen the traditional theme-solo-theme-thing for me. "
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