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Norwegian trumpeter Nils Petter Molvaer has his own very individual sound, influenced as much by the poetry of Scandinavian nature as by electronic calculation, and last but not least by colleagues like Miles Davis und Jon Hassell. Molvaer's new album Baboon Moon marks the self-assured new start of a musician who has already travelled a long way. He began his career in the bands of Jon Christensen and Arild Andersen, but gradually broke out more and more beyond the confines of jazz, starting with his 1997 album Khmer. His musical journey took him through a wide variety of styles, and he tried out different degrees of abstraction along the way. He experimented together with musicians like Bill Laswell, Sidsel Endresen and Eivind Aarset, and surrounded himself with DJ's and VJ's, but he also worked on his own. His language of expression remained vivid throughout.
Baboon Moon was recorded at Ocean Sound, one of the world’s most beautifully located recording studios, by a snow-covered beach on the island of Giske near Ålesund on the west coast of Norway. The stunning location has clearly given inspiration to Nils Petter, who made this recording with his two most recent collaborators, guitarist Stian Westerhus and drummer Erland Dahlen. Baboon Moon has been nominated for a Norwegian Grammy, and included in All About Jazz’s list of top albums of the year.
Baboon Moon was recorded at Ocean Sound, one of the world’s most beautifully located recording studios, by a snow-covered beach on the island of Giske near Ålesund on the west coast of Norway. The stunning location has clearly given inspiration to Nils Petter, who made this recording with his two most recent collaborators, guitarist Stian Westerhus and drummer Erland Dahlen. Baboon Moon has been nominated for a Norwegian Grammy, and included in All About Jazz’s list of top albums of the year.
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Customer Reviews
Most Helpful Customer Reviews
5 of 5 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
In the latest copy of a particular jazz magazine NPM says that he was very influenced by british heavy blues rock in the sixties,the blues does not get a look in here,but the experimentation certainly does,the Miles davis inflections on definately prevalant here,the first track"Mercury Heart"sounds like Manfred Manns chapter three,circa 1969 with "Travelling Lady" which is no bad thing,great playing on this,which seques into "A small realm"with its nordic sounding vibe and great organ playing,"Recoil"is more upbeat with its thumping drums and guitar playing,this perhaps shows those rock routes coming through"Bloodline" follows next,and this is once again a different more reflective ,side of the band with beautifully restrained playig by NPM,a very ghostly sound indeed,with great electronics,"Sleep with echoes " follows,again the ambience is the thing that strikes you until the strident heavy mob move in,almost Zeppelin like,this is followed by"Blue fandango"again taken at funerial pace with what sounds like a theramin in the background,"Prince of calm" follows on next which is a perfect title for the piece,more atmospherics consume the sound,and create a whirlpool of tranquility,a beautiful track,that transcends all before it,"Coded" is next which is purely electronic and sounds at first like Sigur ros,The title track is the last to be played"Baboon Moon" is wwell up to standard.
This album has been severely delayed,very much to its disadvantage,due to the extortionate price that i was reticent about buying it,now on general release it is much cheaper,the very same thing happened to NPMs last album "Hamman" which i believe damaged his reputation,why should record companies be allowed to get away with treating the fans,who after all buy the records so disrespectfully?
RELEASED(FINALLY) IN 2012
NILS PETTER MOLVAER.....ELECTRIC AND ACOUSTIC TRUMPET,VOICES,LOOPS,BASS SYNTHESIZER
SIAN WESTERHUS.....ELECTRIC AND ACOUSTIC GUITARS,BARITONE GUITAR,ANALOGUE SYNTHESIZER,HAND PERCUSSION,FAKEZITHER,STUDER A80,OTARI MX5050B,HARMONIUM,ROLAND 201,HIWATT TAPE ECHO,VOCALS,PREPARED UPRIGHT PIANO,BEATEN PIANO FRANE,AND TO MANY PEDALS!!!
ERLAND DAHLEN.....DRUMS,LOG DRUMS,STEEL DRUM,METAL PERCUSSION,OMNICHORD SINGING SAW,VOCALS,HARMONIUM,BELLS,CANDY BOX SHAKER.
SONY
47.19
This album has been severely delayed,very much to its disadvantage,due to the extortionate price that i was reticent about buying it,now on general release it is much cheaper,the very same thing happened to NPMs last album "Hamman" which i believe damaged his reputation,why should record companies be allowed to get away with treating the fans,who after all buy the records so disrespectfully?
RELEASED(FINALLY) IN 2012
NILS PETTER MOLVAER.....ELECTRIC AND ACOUSTIC TRUMPET,VOICES,LOOPS,BASS SYNTHESIZER
SIAN WESTERHUS.....ELECTRIC AND ACOUSTIC GUITARS,BARITONE GUITAR,ANALOGUE SYNTHESIZER,HAND PERCUSSION,FAKEZITHER,STUDER A80,OTARI MX5050B,HARMONIUM,ROLAND 201,HIWATT TAPE ECHO,VOCALS,PREPARED UPRIGHT PIANO,BEATEN PIANO FRANE,AND TO MANY PEDALS!!!
ERLAND DAHLEN.....DRUMS,LOG DRUMS,STEEL DRUM,METAL PERCUSSION,OMNICHORD SINGING SAW,VOCALS,HARMONIUM,BELLS,CANDY BOX SHAKER.
SONY
47.19
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
14 of 15 people found the following review helpful
Is it Jazz?
18 Nov 2011
Format:Audio CD
I don't know, I'd have to check with Duke Ellington, so don't hold your breath for me to get back on the subject. What I do know is that this is some ear-grabbing improvisational music that blends genres and pushes boundaries.
Molvaer's music blends an eerie trumpet that sounds like a distant foghorn cutting through thick banks of fog, with either delicate percussion and politely unwinding guitar figures, or raging guitar and heavy beats. Around these items he uses lots of space, but not silence, more like a white noise drone that adds a haunting quality to the already otherworldly playing of the main musicians. The music sometimes comes across like the ghost of Miles Davis jamming with post-rock bands like Grails or Earth. Several of the tracks drift together to form 2-3 song mini-suites illuminate the various sonic approaches of the artist.
This is the first Nils Petter Molvaer album that I have heard, and I am excited to check out more of his music. His is a forward looking music that defies musical categorization and may just be a new road for jazz musicians (or maybe not).
Molvaer's music blends an eerie trumpet that sounds like a distant foghorn cutting through thick banks of fog, with either delicate percussion and politely unwinding guitar figures, or raging guitar and heavy beats. Around these items he uses lots of space, but not silence, more like a white noise drone that adds a haunting quality to the already otherworldly playing of the main musicians. The music sometimes comes across like the ghost of Miles Davis jamming with post-rock bands like Grails or Earth. Several of the tracks drift together to form 2-3 song mini-suites illuminate the various sonic approaches of the artist.
This is the first Nils Petter Molvaer album that I have heard, and I am excited to check out more of his music. His is a forward looking music that defies musical categorization and may just be a new road for jazz musicians (or maybe not).
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