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Eivind Aarset

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#1 Chilly Willy

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Posted 13 June 2009 - 02:12 PM

Just discovered this wonderful guitar player from Norway!!!

Eivind Aarset.

Light Extracts (CD) Jazzland 014 741-2, 6.11.2001
1. Empathic Guitar, 2. Wolf Extract, 3. Dust Kittens, 4. The String Thing, 5. Between Signal and Noise,
6. ffwd / slow motion, 7. Self Defence, 8.Tunnel Church
Eivind Aarset: guitar, fretless guitar, electr., bass (4), programming&edits - Wetle Holte: drums, drum machine, electr.,&edits -
Marius Reksjo: electric+acoustic basses, Reidar SkŚr: mix & electr. -
guests: Hans Ulrik: bass clarinet, Arve Furset: rhodes, prophet, NPM: trumpet, Nick Sillitoe: vital arrangement

I really like his music, he has 4 cd's:

Electronique Noire
Light Extracts
Sonix Codex

What is it with Norway and it's amazing nu-jazz?


#2 Kai


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Posted 13 June 2009 - 09:11 PM

Yeah, great player, does great things with FX, too. I've seen him twice, as a sideman with Nils Petter Molvaer and Bugge Wesseltoft.
"The music business is a cruel and shallow money trench - a long plastic hallway where thieves and pimps run free and good men die like dogs. There's also a negative side..." - Hunter S. Thompson
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#3 Chilly Willy

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Posted 14 June 2009 - 06:28 AM

Yeah, great player, does great things with FX, too. I've seen him twice, as a sideman with Nils Petter Molvaer and Bugge Wesseltoft.

Lucky you! He has nothing in his agenda in Holland! :)

Petter Molvaer is also amazing!

#4 Chilly Willy

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Posted 08 July 2009 - 08:49 PM

Found this interview of Aarset:

itatlian diamond geezer Marcello interviewed Eivind exclusively for on occasion of the Fandagojazz concert in Rome 2005-06-08
as Arve Henriksen / Eivind Aarset Duo. Wyrddhahii gave his transscription the last polish in english phrasing.

Hi Eivind, nice to meet you !
As a begin I have prepared a few questions....

... letís talk first about equipment. What have you changed since then?
[Eivind has in front of him an equipment scheme from a previous interview in 2001]
The Roger Mayer Voodoo Vibe is out. It broke down [smiles]. It might reappear,
but Iíd have to fix it. Things started to get wrecked because I travelled by plane
all the time. So this is out now.

Would you make a diagram of your current equipment set-up?
[Eivind takes paper, and draws a funny figure resembling a guitar and we laugh,
then he follows on the whole page for almost 5 minutes]
I actually split the sound from the Microsynth.

Is this totally new?
Yes, Iíve never done this before. Itís a new concept which I think works well.

Is the Repeater the main looper?

Is everything in serial or in parallel link?
Serial link.

Why do you use compressor after Delay?
When I use this Boss DD3 Delay, sometimes it docks, and I need the compressor to keep steady level for the Microsynth.

Any noise gate?
No noise gate. Oh, I forgot one thing in the scheme ...
[we both laugh very loud so weíre not the only ones to be messed in his equipment!]

POD is really new. It doesnít appear in the photos from Karlsruhe 2005.
Yes, itís different. There I used the mixer. Directly to mixer and then to guitar amplifier, to Vox AC30.
But I think this is better because the (????) really works with guitar amplifiers and I can do these split sounds.

Are you still trying to develop new solutions for your gear, with new equipment available on sale?
Yes, I constantly do it.

Where does the computer fit in?
The computer is not included in the guitar set-up. I didnít use it. It was ...
...for answering e-mails?
[laughs] No, actually I had the plan to use it cause I just did the solo tour, only myself playing. There I used the computer to control some loops.
So I brought it during my solo. I thought I might bring in some of these electronic loops.

Only for electronic loops?
Yes, only for electronic loops - but I didnít use it.

Have you ever considered using the computer for direct control of the Eclipse live on-stage?
No, I actually tried this cause I wanted to change my equipment and wanted to include the computer around the guitar signal.
Instead of the Eventide Eclipse and Electrix Repeater I wanted to use the computer. But it didnít sound as good as those.
It was too complicated to use a foot controller to make this work in a live context. I miss the sound of Eclipse a lot, even though
it was really nice to use some of the plug-ins for guitar. These comes from Ableton Live, some of these programs were very nice to use on guitar.

Have you changed your pedals during this time?
Prescription Fuzz, Boss OD3 and Boss DD5 have been with me all the time.

Your trademark sound comes from the Boss DD5. On Arild Andersenís Electra we hear it, especially on "7th Background"
where there was a nice interplay between you and Arve Henriksen. Tonightís concert with Arve was totally improvised.
Do you feel that it was a kind of free jazz?
Yes, a sort of free rock!

A sort of Eivind Aarset with Supersilent.
Have you ever thought about joining or forming that kind of minimalistic free-jazz experience
I actually did a short while ago a project in Germany with a crazy guy called ??? [NB: Peter Hollinger].
It was like a commissioned work for "WestDeutscherRundfunk" which is a radio station in Koln [NB:] .
And he makes music for but itís like really out, and he invited me to improvise with him. Heís a free jazz drummer and he had some actors
speaking on the top of the music afterwards. It turned out very good I think, and it was so nice that I wanted to do some rock stuff together
with this free-jazz drummer and it was like a very good experience. So I think Iíd like to work more on this concept, this free jazz thing.
It was inspiring to collaborate in this way because as a concept it felt very positive.
cont'd here

Which musicians would you like to join you for a project like that?
I want to do some rehearsals with Audun and the drummer in my band, Wetle, and weíll see what comes next.
Just to figure out and check out things and maybe use it as it develops a tune. So weíll record and see what happens.

Are you planning about touring with Wetle and Audun Erlien or Marius Reksjo or are you thinking about something new?
Iím thinking about something new but itís mostly in terms of music, of making new tunes, new concepts, changing the music a little bit.
In Norway weíre still touring with the 'Connected' material, but Wetle and me started to do this practicing with rehearsing, checking out new ways
to do some things. Not leaving electronics out, but maybe using them mostly for beats, maybe having more acoustic drumming and then bringing
electronics in between playing. So that beats donít have to be too low, too hard.

Using a lot of electronics can lose dynamics; instead you work on the mood of the song when you play.
Thereís a large dynamic range in the band, a lot of interplay. How would you feel about playing with someone else?
I think that sometimes it could cause problems, especially when itís too much inside the box, coming totally from the computer. In my trio we always strip down,
strip down [he explains with gesture like peeling a banana] . Now, with the 'Connected' material, itís only some programming that fits in well with Wetleís style
of playing. So it all sounds like one big drum kit.

In your playing, you merge electronic and acoustic moods. Does it matter more to play something you like,
or is it more important to balance electronics with the acoustic dynamics of the guitar?
I think that the most important thing for me is what I feel with the music, how it works emotionally. If I can recognize something I like in it,
thereís nothing else. Thatís why I use all this equipment - because I want to hear this kind of sound.

Most of guitarists like to play with a few pedals, a wah-wah, a distortion pedal, while you use lots of effects.
You change the sound of the guitar in a fundamental way. How does it affect your playing?
I wanted to get away from the way I played, from the repertoire of blues licks and everything that most guitarists do. Using lots of effects was a means t
o escape this. But I think that Iím also influenced by keyboard players, this way of thinking and working on different sounds.

What keyboard player has been most influential on you?
There isnít any one in particular. Itís more a way of thinking, I guess, in arrangements.

If I said ... Brian Eno?
Ah, Yes, Brian Eno! Heís brilliant, I really like him! There are a lot of great keyboard players, but I can say I really like all the pianists that played with Miles
in the Seventies. They influenced me because I still can hear them in my ears, but no particular keyboardist had a great influence on my playing.

What are your jazz highlights?
Well, I think that the first jazz album that gave me right really that was 'Agartha' by Miles Davis from 1975 just before Milesís departure.
That was really good, good music!

In an interview last year, John Scofield was asked who he thought were the emerging talents in jazz guitar. He named two;
the first one was Kurt Rosenwinkel and the second was you. How do you feel about being categorized as a jazz guitarist?
Do you think of yourself as a jazz guitarist?
Itís really nice! [smiles] Although Iím not really a jazz guitarist because I think many other jazz guitarists can do all the things theyíre supposed to be able to
do, like soloing over bebop, things I canít do. Still I improvise all the time, thatís the basis of what I do: Improvising! Thatís my version of being a jazz guitarist!

Where do you think jazz is going now?
Itís so hard to tell. I think that it is very open now what is going to happen. I see that thereís a very strong jazz scene with a kind of 'nostalgia'.
I hear it very much as being 'acoustic nostalgia'. In Norway - also in Germany - itís like this; itís more and more like this kind of 'nostalgia' trip.
But at the same time, the free jazz scene is much stronger than it was some years ago. I really can only talk about the places I know best in Norway,
but ten years ago free jazz was something that only a few people were interested in; now itís almost the biggest thing! Lot of things going on in free jazz!
So it seems like itís going in very different directions I actually feel equally a part of both of them and of something else.

It could be said that Norway is producing the most interesting music at the moment.
Why do you think is it Norway at this time?
Itís many different things that are sort of connected. I think, we were lucky to have people like Jan Garbarek, Terje Rypdal, and Arild Andersen
who opened up some doors. People were already thinking about different sounds. And then Nils Petter Molvaer, and Bugge Wesseltoft helped
open more doors for a lot of others, people coming from the same environment. And the media has been very positive, focusing on and telling stories
about Norwegian musicians. But I also think that itís something to do with the Norwegian character. We are very individualistic, I think.
So to move forward is something more natural or easier for us than other players.

Tell us more about your collaboration with Bugge Wesseltoft.
Heís the boss in my record company. I owe him a lot because I donít think I would have ever released even one record if he hadnít said:
"Hey you! Come to my record company and make a record!" [laughs]. So I donít have to trust myself to do all this work alone. Heís been very helpful in that.
I also worked for a very short time in his band, 'New Conception of Jazz', but then 'Khmer' was breaking at the same. And so for me it was very hard
to be a player in both bands. I quit. He said something that actually helped me a lot to develop myself. He said "I donít want any guitar solos"
and he donít get a rid of himself! [laughs]. It helped me to find other ways to work with the things through this thinking, but we never really worked very well.
But unexpectedly, when I asked to play with him, it was so easy to play, so it was much easier to go in that direction.
There was a lot of space for me and things I can do with that.

Thereís a story regarding 'Labyrinter', you did played in Voss 1996.
Nils Petter Molvaer joined you after you were also a band by yourself. How did it work?
They didnít do anything for a while then we played one gig. We played just a couple of gigs. And next year I had the commission in Stavanger at Maijazz
[the project "7" for Maijazz 1997 that ended-up to 'Electronique Noire']. Then I asked Nils Petter Molvaer to join him, and that was the only gig we did with that.
The birth of 'Khmer' was Voss. Because itís the Maijazz project I wanted to do with the 'Khmer'. I think already someone started with the 'Khmer'-band
before I did Maijazz.

What about the project that ended-up to 'Electronique Noire'. How do they commission the project,
how did you plan about doing this project, a 'bestillingsverket', specifically for this festival?
No, I was also doing it. It was very good for me because I was doing this and doing the record at the same time. So then I could think about both.
I recorded the concert on a multi-track and I used some of it for the record. Thatís the track 'Entrance/U-Bahn'. And the funny thing is that it was also the beginning of the concert and in the middle of the guitar solo the power at the house broke down. So weíve just started 'Entrance/U-Bahn' and we have
to leave the stage. The power came back on and we started in the guitar solo, and of course I keep connected to what I did before! [laughs].

When 'Electronique Noire' was released your sound was impressive, really "new".
Who are the guitarists that influenced you most for this record?
David Torn. I heard him for the first time around 1981 or Ď82. Thatís the only time I heard him live. He was playing with Jan Garbarek. But I also bought
his ECM record 'Everyman Band'. That was a really, really great album! Then I followed his solo albums all the way. I still think heís a really great guitar player.

And who were your other guitar influences at that time?
Jeff Beck. And, of course, Terje Rypdal.

On Arild Andersen's 'Electra' on track 12 you play a true Rypdal-style solo!
Yeah. For this solo Arild wanted some really heavy playing. I couldn't find anything else to play [smiles].

He probably remembered the past times along with Jan Garbarek and Terje Rypdal! How was working with Arild?
This project was not originally intended to be recorded. It was only for theatres. So it was like merging, mixing down the record. It was lot of small pieces.
For some of it he just sent me some bass loops and asked, "Can you work something around these?" and I put them together at my place, and then sent
the finished article back, and some of it was done with him live in studio.

What about Jon Hassell?
It was a great honour to collaborate with someone like him. Heís a fantastic player.

What is the difference in working with Jon Hassell and with Nils Petter Molvaer?
It's very different. The music in Nils Petter's band is more free, in a way. And, of course, itís much louder and has lots of energy - although Nils Petter still listens closely to your playing. He's a very different player from Hassell. For me it is much easier to play with Nils Petter, to fit him. But at the same time, I learned a lot
from playing with Hassell, learning a lot resources of the music I'm working in, because he's like a father to a lot of us, also me, the way I'm playing the things.
So it's really nice to take a look inside what's happening.

What about the Aarset/Fresu/Youssef Trio?
We recorded an album, but it needs some overdub work to be finished. We recorded new tracks, and some free stuff. It could be like [???]... but it needs some work, maybe another session in the studio, maybe it's just everything that is able, because we have a lot of live material. Some of this recording is studio,
some is live material.

You played here a year ago with your trio ...
Yes! I tried to do a live recording of that myself but it distorted. That concert was very good, but the Boss distorted so much it made that
concert recording unusable.

Can you give us some new hints about your next album?
I'm working hard because I have a lot to decide. I have some tunes, which are semi-arranged tunes, that I might go for. Or more free stuff.
It depends on what happens during rehearsals.

Have you recorded anything yet?
No... not really. I tend to record things and then something ends on being on the album that wasnít really recorded for that.

Are you planning a solo tour?
Yeah, I actually did a little solo tour, only myself and the computer, back in May. I did four concerts. It was very interesting experience.
How do you feel when youíre totally alone on the stage?
It's not comfortable! [laughs] But it is also a good experience to really be responsible for everything, for being...
...the front-man?
.. yeah - Front-man!! [laughs] I learned a lot from it. New ideas for things to do. What I think is really important is that I don't compete with my own group.
The most important thing for me is to play with the band. So Iíll probably do more concerts with the band than solo concerts.

Have you ever considered doing a project, like Nils Petter Molvaer did in Maijazz 2002, using an orchestral ensemble?
We had the opportunity to do that once. But the orchestra disbanded so it didnít happen. But it could be very interesting to work with material in that way.

Have you got new bestillingsverket for upcoming years?
I already received a bestillingsverket! [laughs] So, if I'll have to do it I'll certainly do. I have a lot of more commissions... let's see.

We talked about an upcoming gig in Rome by Dave Fiuczynski. Do you know him ?
Oh, Dave Fiuczynski! I like him! Don't have any record of him, but I have heard him.

Another guitarist I'm very curious about... NguyŤn LŤ. What do you think about him?
I think he's great! I played a duo concert with him in Berchidda (Italy). And that was fun! Two electric guitars, totally improvised. All the equipment came
from the audience, no soundcheck either. That was very interesting. I was not very happy with my own playing, but people seemed to very like it and
Nguyen was a very nice person.

You have a very different approach.
Very different. I think we had much of the same starting points. I mean Miles Davis... when I started to play I started because I listened to Jimi Hendrix.
I think I actually spoke with him about it but I don't think he is from the same point in the same place. But he's a real jazz player!

Which Jimi Hendrix track did you like most?
For me it was a special record, which I got at home when I was a kid, 'Hendrix In The West'. Especially the version of 'Red House' on that album.

What do you think when you're playing music?
When I'm really into it I don't think. I'm just inside the music. I don't think about which tone, which chord, which note: Iím just inside them.
When I decide afterwards for a record that I like, then it has to be something that touches me emotionally in some way. It doesn't have to be sad,
it could whatever. Being perfect or corrected isnít very interesting. It has to be something that touches me emotionally.

Textural guitar is often a way to escape from traditional structures in playing music, even rock or jazz structures - a kind of unconscious musicianship. Do you feel you are constrained by these structures or do you consider yourself to be totally free,
whatever the context?
I think that somehow I always see structures; even though I feel free I'm still thinking in structures. Like what I played today [duo with Arve Henriksen]
had no limits. Then you think, "Okay, this is the way to go" or "It's not this way". Then maybe I want to bring in something lighter on top of this,
or maybe I want to break it off, or maybe something else. There's always structure in some form, but for me it has to be like this. It's not planned structures,
but structures that naturally emerge. It's music. It's like a physical need - it could be unconscious, instinctive. But if you think about music, music it something
that is starting at one point and then moving. You can feel everything you want, but it's working in and through a time-frame. I want to hear development
within this time-frame and I try to make that development happen. This can be conscious or unconscious, but no matter how you look at it, it's structuring.

Do you still study and practice your playing or do you dedicate yourself purely to improvisation?
It's important to work on technique. I need to do what I want to do. When I was younger a lot of people went to school studying music to develop some techniques... but sometimes technique gets in the way because you don't have any idea outside the technique. And that's not very interesting.
But I think it's wonderful when the people with good technique are also players with ideas that can touch you emotionally. I mean artists like Keith Jarrett...

What impresses you most about Jarrett? Solo concerts? His way of improvising?
For me it's an album he did with Jan Garbarek, Belonging, which is maybe one of my all-time favourite albums. I think he is in tune with the flow of his life,
the melody flows so naturally.

Are you attracted by the idea of playing totally solo improvisation? A sort of KŲln concert style...
If I was able to do it, it could be attractive. But I don't know if I can do that. Maybe someday... it's not something I would force myself to do.
It's not really that important for me. The most important thing to me is to make music that sounds good. The rules of the context for making that music
are not as important to me as the quality of the music that is made.

Let's have another look at your collaborations with Nils Petter Molvaer.
This collaboration is probably the most important thing that has happened in my musical life. He has both opened lot of doors in music, internationally,
and has also given me the opportunity to develop my own way of playing in his band. And he has helped me a lot. It's always so easy to play with him.
It's like when he is on stage and he plays, he hears everything that's happening around him. Even though itís really loud and there's the drummer and the dj
playing beats, I can play a chord and he just pricks up his ears and his eyes open wide ... he's an incredible musician! It's always a huge pleasure to play
with him live.

And in the studio?
I get some stuff from Nils Petter, from his computer, and I work on it with guitar, then I send it back to him; so it's not like being in the studio together.
recorded three tunes for the new album ... I think it's a good album!

What do you like to do in your spare time?
You know, I have kids... so I take whatever opportunities I can to play with them. But ... I make food!

Some recipes from Italy?
Mhh. "Osobucu"! [laughs]

Ah! Gli Ossobuchi !

Grazie e Ciao, Eivind.

#5 Kai


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Posted 08 July 2009 - 09:21 PM

Very nice! Thanks, Willem!
"The music business is a cruel and shallow money trench - a long plastic hallway where thieves and pimps run free and good men die like dogs. There's also a negative side..." - Hunter S. Thompson
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#6 jahloon



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Posted 08 July 2009 - 09:25 PM

Wittering beyond compare. :wub:
Play the blues guitar with your soul, but play the fretless guitar with your spirit.
Author of the book "Fretless Guitar The Definitive Guide"

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Posted 09 July 2009 - 01:14 AM

Great interview and what about Neil Schon too

#8 Chilly Willy

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Posted 09 July 2009 - 05:34 AM

Great interview and what about Neil Schon too

Neal Schon does NOT play fretless guitar and in my opinion he is not "experimental or new" just another guitarist. BORING........And after he left Santana he became extremely commercial and predictable.... :wub: ....absolutely NOT my cup of tea and in another league, not to be compared with a master like Eivind Aarset, :ninja: but PLEASE , this in ONLY my opinion............

#9 Chilly Willy

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Posted 09 July 2009 - 05:42 AM

Very nice! Thanks, Willem!

Well, I din't interview him... :w00t: ...only Appel C, appel V... :wub:

I'm totally into his music! I LOVE it when I discover a new artist that blows my brains away, last one was Nguyťn Lť!! :wub: And now Eivind Aarset........ :ninja:

This one is also a good one:

Eivind Aarset - "Painting Pictures"

Eivind Aarset, a prominent protagonist of the new generation of Scandinavian guitarists is involved in projects like "Marilyn Mazurīs Future Song" and Nils Petter Molvaerīs band. Aarset also worked with Bugge Wesselthoft and virtually all other prominent Norwegian musicians. In February this year, he played with his own trio "…lťctronique Noire" at the A-Trane in Berlin. The clubby atmosphere made this event something very special ...

Posted Image

Carina Prange talked to Eivind Aarset before the concert.

Carina: To find a definition for your music is difficult, perhaps impossible - would you agree that it is a kind of electric jazz with ambient, underground and D&B-grooves? How would you put it in own words?

Eivind: I think that definition is at least as difficult! As far as I know, the record-company in Germany - I saw the advertisement in a music-magazine - calls it "Ambient Trip-Rock". I thought that was sort of ... - yeah, I could relate to that. It has a lot to do both with club-music as it has a lot to do with rock. But we also are constantly improvising all the time - so it is at the same moment a sort of jazz ...

Carina: The A-Trane is a small club - is that o.k. for you? What kind of people would you expect to see at your concerts? Do you make concessions to them?

Eivind: Yes it is a small club, weīll see how it works. Itīs of course music that could suit a bigger club with a bigger PA, but it can be also nice to play in a more intimate situation. As for the audience - Iīm not thinking so much of it when I create the music. I do it in the way that is comfortable for me. - The record company - Bugge Wesseltoft - wants to keep something like a "straight profile" in that everybody should have the same ingredients. My music suits that - it is not that I make it to fit, but it does. So itīs o.k.

Carina: There's the statement, that your music would not know any limits, any rules and was free of traditional backgrounds. Is it really possible to invent something new without your own social background being involved - your own "evolution"?

Eivind: I think that it is not possible really to "decide" to create something new. And therefore I donīt think my music is, like "really" new. But maybe then I combine elements in a slightly different way, in another than there has been done before. But to me it would be very pretentious to speak of "new", because I owe a lot to a lot of people: both people that I played with and also people whose records I listened to - musically good people.

Posted ImageEivind Aarset

Carina: Nils Petter Molvaer and you - who is more influenced by the other? Do you think Nils Petter also makes the way free for the kind of music you do? How does the creative process evolve when you work together?

Eivind: Nils-Petter and I, when we play together and record together, it is a very easy process. He has a very open mind with his compositions - he writes some themes, maybe some chord-changes. Besides that it is pretty open - because it is also his approach that he "creates" the songs by picking different musicians that contribute to them. So that also becomes a part of composing and the music. One thing is right: it has been a door-opener commercially for me, because Nils-Petter has been a huge success, but also musically it has been very helpful for me, because playing with him has changed the way I play - maybe made it more special.

Carina: Your guitar-style is unique - how would you describe it yourself? How dependent is what you play on the effects and the special sound you use? What is the piece of equipment you wouldn't want to work without?

Einvind: My guitar-style - it is like a mixture of rock and improvised music ... - Also I am listening to other instruments, not only guitarplayers - that can be very helpful, too. I am very into sounds - so maybe I am also quite influenced by keyboardplayers. Then, to be compared to Miles Davis, maybe "Bitches Brew" is rather strange - also very flattering. Although Miles has been a big influence on me I wouldnīt dare to compare myself to him. Guitarists that influenced me are Terje Rypdal - like most of the other northern guitarists of my generation - David Thorn and of course Jimi Hendrix.

The effects and the special sounds are part of my instrument, because I am working with some other things I use all the time. When you look at me play, it can seem pretty strange, because sometimes I am not really playing the guitar - just turning knobs. But I donīt think about it so much, I just do it - because I have worked so long with these effects that it is sort of intuitive, what I am doing.

Which piece of equipment I wouldnīt want to be without? - Thatīs the WahWah-Pedal, my Volume-Pedal and the Digital Delay, the DD5.

Posted ImageEivind Aarset

Carina: Oslo's underground jazz scene - please tell me a little bit more about it! How does it organize itself, how often and in what constellations do the musicians play together? The possibilities for rehearsal and being on stage - are there enough clubs?

Eivind: Norway's Jazz Scene basically is a very small scene - that makes it more open so you can cross the borders between different musical environments. Now in Oslo, there is one very important club that is called "BlŚ". It is a scene there, which encompasses free-jazz, modern contemporary classical music and DJ-playing. They have a kind of "modern jazz-profile", which is very broad and they do a lot of experimenting with different things. They have live-music there every night. So it is a very important club, I would say.

In Oslo there are pretty good rehearsal-possibilities as well. A nice scene. - And there are also some record-labels Iīd like to mention, which are doing good work: "Jazzland" has been very important, and there is "Rune Grammofon" - which is now distributed through the contacts of ECM - which has published a lot of really exciting music.

Posted ImageEivind Aarset

Carina: Your music transports a kind of sometimes "dark" feeling. What importance does feeling in music have for you? Electronic and live instruments - how does that go together, how do you find a balance?

Eivind: I think it is a measure of focus. When I make the music it should transport sort of a "picture" - that is what Iīm looking for. It means trying to avoid getting "technical" - technical in the sense of guitar-playing, technical in the sense of working with the sounds and technical in sense of working with the chords. I try to avoid all that. I certainly can do all these things and they are a part of it, but I try to focus on something that you shall see in your imagination - so the feeling is absolutely important. And to me the electronics help to "paint" the kind of picture I want to have.

Carina Prange

CD: Eivind Aarsetīs …lťctronique Noire - "Light Extracts"

And some of his gear is:

Line 6 Echo Pro
Line 6 DL4
Volume pedal
Dunlop wha
Logic Audio, Live und Reaktor.

Dunlop Wah
T-Rex Overdrive
Roland DD5 (Digital Delay)
Roger Mayer Voodo Vibe (chorus)
TC Electronics Compressor
Electro Harmonix Micro Synth (Kein Synth, mehr ein Fuzz mit Tiefpass & Resonanzfilter)

Boss Volume-Pedal
Mackie Mixer

Im Mackie-Mixer ist wird das Signal auf folgende Geršte geroutet:
Eventide Eclipse
Line 6 Delay
Electrix Repeater.

Vox AC 30. Zuhause hat er auŖerdem Fender Princton und Bad Cat.

need to rob a bank :ninja:

#10 Guest_Guest_*

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Posted 09 July 2009 - 12:43 PM

Yeah but sometimes we have to get back to basics, for example; Schon's AFRO

#11 Chilly Willy

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Posted 09 July 2009 - 01:30 PM

Yeah but sometimes we have to get back to basics, for example; Schon's AFRO

I personally think Americans never made decent progressive rock like European bands like Yes, King Crimson, Pink Floyd, Genesis (with Gabriel), Focus, is taste though. I never liked Journey or Boston.Santana is Mexican and he was awesome back in the 60's :wub:

#12 Guest_Guest_*

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Posted 09 July 2009 - 01:34 PM

Oh yeah but the FRO!
Posted Image

#13 Chilly Willy

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Posted 09 July 2009 - 01:47 PM


Posted Image

Sign of the times!!! :wub:

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Posted 09 July 2009 - 02:27 PM

Excellent point Posted Image

#15 Chilly Willy

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Posted 10 July 2009 - 06:36 AM

Excellent point Posted Image

:wub: this is definitively the BEST afro!!! He will get a hernia in his neck though!!!! :ninja:

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