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The impassioned and often haunting nature of Henriksen's playing has won him justified popularity. He has said that his primary interest is the expression of feeling, the trumpet just happened to be the instrument closest to hand. Strjon's opening track, ''Evocation'', is exemplary in this regard, consisting as it does of almost two minutes of richly textured melody channelled from the heart.
Much new Norwegian music has been characterised by its relationship to folk traditions and the natural world. Strjon is no exception. The title is the medieval name for a streaming river and it's but a phonetic hop and a skip to Stryn, the village where Henriksen grew up. Tracks such as ''Alpine Pyramid'', ''Twin Lake'', and ''Wind And Bow'' are rich with a sense of timeless ritual.
Etched throughout with a sense of vast natural forces, Strjon is balanced by an outspoken intimacy that is at times intensely moving. The title track and its successor, ''Glacier Descent'', are a case in point. The former consists of two minutes of subdued, reverberating roar after which waves of striated tones fuse with the yearning sound of a choir comprised of Henriksen's multi-tracked voice. It's as if snowy mountains and gossamer clouds were fusing before one's eyes into a single whole. As Henriksen's yell emerges from this wall of sound, it's impossible not to be swept along. Strjon is a gorgeous portrait of humanity's place within nature. As such it serves as a plea, perhaps even a blueprint for living in harmony with, rather than in opposition to, our environment. --Colin Buttimer
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To best get it, you need to have been amongst the big mountains to have liked this. For me, it echoed the silence of the spaces once you have woken up, started an alpine climb at some early hour, and have rested after an hour or so to get some water. You stop listening to your heartbeat and ... this is what you hear.
Of course, you might like it some other way.
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