It has been called Scandi jazz, nu-jazz or simply not-jazz. How you wish to define it is your choice. Whatever description you settle on, one thing certain is it is music worth exploring. A music that challenges the boundaries between genres and has shown itself open to a younger generation’s experiments in Electronica and Dance.
Perhaps one of its most important figures is Nils Petter Molvaer, a trumpet player from Sula, Norway.
Perhaps the hard core of the movement would accuse him of not pushing the boundaries further but he has reached the wider audience. He came to prominence in 1997 with his much acclaimed album Khmer, followed in 2000 with Solid Ether, both released on ECM the famous German label.
In 2002 he left ECM to record NP3, a continuation of themes. And in between were two albums of remixes by various DJs and luminaries of the Dance scene, plus a live album. In 2005 he released ER, his most accomplished work to date.
Scandinavia is not a part of the world one normally associates with fiery passion or expressiveness. Certainly not the burlesque and energy of early 20th century black America; Jazz’s true roots. A generalization perhaps. Yet in the last 15 to 20 years many Scandinavian its musicians have contributed hugely to the field of contemporary jazz; Jan Gabarek, Esbjorn Svensson, Palle Danielsson, Terje Rypdal to name a few.
There has been criticism of course.
Some have seen the emphasis on coolness of sound and experimentation with electronics as sterile. As not in the spirit of jazz. Yet despite a tendency not always to swing it is nevertheless a sound that belongs very much in contemporary music.
Some of the great figures of jazz, Miles Davis or Ornette Coleman for example, have not been afraid to experiment. Mixing different genres of music, Middle-Eastern, Indian, North African; bringing in unconventional instruments, tablas, sitars, guitar synthesizers, wah-wah pedals, and of course utilizing the latest studio technologies.
In fact Miles Davis is probably a good point of reference for the work of Nils Petter Molvaer. Particularly his recording Aura, a project instigated by the Dane Palle Mikkelborg; a project Davis himself held in high regard.
ER is maybe two albums in one. A first half of tracks drifting around melody, electro percussion and atmospheric sweeps. It’s culminates with ‘Only These Things Count,’ a song, vocals courtesy of compatriot Sidsel Endressen; the remaining tracks are denser, exploring syncopation, rhythm and the texture of sound, electric and acoustic.
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