With the breakup of his trio responsible for the superb Baboon Moon (Sula, 2011), it's been a fair question to wonder: what's next for Nils Petter Molvær? One possible answer is certainly 1/1, the Norwegian trumpeter's debut with German multi- instrumentalist and influential techno producer Moritz von Oswald and his nephew, Laurens. The trio's debut performance at Kristiansand, Norway's 2013 Punkt Festival, while strong, was largely misleading; the show certainly occupied some of 1/1's more ethereal territory, but Molvær and his partners also traveled to far more beat-driven, danceable terrain.
Recorded with the same group he had in the studio for SWITCH, Nils Petter Molvaer’s new album ‘Buoyancy’ is the logical continuation of its predecessor, whilst also taking the music a step further. Here the group works more closely as a unit and performs the music more spontaneously in the studio. A range of soundscapes, grooves and hauntingly beautiful little melodies emerge from the trumpet master’s instrument to create an intense collection of colourful paintings in sound. 'Buoyancy' : the ability or tendency of something to float in water; a cheerful and optimistic attitude or disposition.
Nils Petter Molvær, also known as NPM, is a Norwegian jazz trumpeter, composer, and producer. Molvær is considered a pioneer of "future jazz", a genre that fuses jazz and electronic music. Buoyancy - the ability or tendency of something to float in water; a cheerful and optimistic attitude or disposition. Recorded with the same group he had in the studio for "Switch", Nils Petter Molvær's new album "Buoyancy" is the logical continuation of its predecessor, whilst also taking the music a step further. Here the group works more closely as a unit and performs the music more spontaneously in the studio. A range of soundscapes, grooves and hauntingly beautiful little melodies emerge from the trumpet master's instrument to create an intense collection of colourful paintings in sound.
Norwegian trumpeter Nils Petter Molvær made his small mark on fans and critics alike in the United States with his fine pair of ECM recordings. After a couple of years working in Europe, he returned to the release scene in the U.S. with An American Compilation in June of 2006. That disc was a selection of tracks from this album, his remix disc, and live cuts of tunes from the ECM period. In fact, ER is being issued simultaneously with Streamer, the live CD.
The master of the ethereal trumpet, Nils Petter Molvaer, teamed up with Moritz von Oswald, best known for his excurses in dubtechno as Basic Channel (with Mark Ernestus) for a full-length album, so our expectations had been quite high, as we very much like the work of both artists. But “1/1″ is a quite tough nut to crack, it’s spacious and sparse landscape leaves a first impression of , well – more would have been more, possibly maybe. So don’t expect to get sucked in immediately, “1/1″ needs some time to unfold it’s dark beauty.
Khmer is surely the most unusual album ever released by ECM — unusual because the label, which is best known for elevated chamber jazz, presents the solo debut of trumpeter Nils Petter Molvaer as a production that plays with modern electronica methods while not eschewing the well-known ECM aesthetic. Molvaer's music is somewhere between scary and majestic, and changes between ominous ambient sounds and hard breakbeats, along which atonal screeching guitars combined with melancholic melodies, create a fascinating melange.
Like 1998's Khmer, Solid Ether is an unusual addition to the ECM catalog, reflecting the Norwegian trumpeter's continued fascination with drum'n'bass, jungle, and other underground club genres. Molvaer's work in this idiom is indicative of a new wave sweeping Europe and Scandinavia, where boundaries between jazz and electronica are being creatively blurred by a growing number of forward-thinking artists.
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 and Jon Hassell. Listening to him play, it's easy to forget that his instrument is a trumpet. On his last album, Hamada, he switched to and fro between very harmonious and extremely brutal passages, while on Baboon Moon these two opposite poles blend into a unified whole again. Improvisation is an important factor but for this music Molvaer calls it free, black prog rock.