Erik Svela Bits & Pieces

ERK SVELA BITS & PIECES EIRIK ERK SVELA BITS & PIECES EIRIK

1 Bits & Pieces 5:34 Eirik Berg Svela guitar 1 Bits & Pieces 5:34 Eirik Berg Svela guitar 2 Next Time We Meet 5:58 Sam Yahel hammond B3 2 Next Time We Meet 5:58 Sam Yahel hammond B3 3 Shame (on) Us 5:04 Dave Edge tenor sax 3 Shame (on) Us 5:04 Dave Edge tenor sax 4 End of Days 5:12 Tore Thorvaldsen Sandbakken drums 4 End of Days 5:12 Tore Thorvaldsen Sandbakken drums 5 New Arm Rash 5:16 5 New Arm Rash 5:16 6 n/a 6:13 6 n/a 6:13 7 In Awe Of 6:50 7 In Awe Of 6:50 8 T.E. 6:13 8 T.E. 6:13 9 I´ll Be Seeing You 4:52 9 I´ll Be Seeing You 4:52 Total Time 51:12 Total Time 51:12

All compositions by Eirik Berg Svela except “I´ll Be Seeing You” by Sammy Fain All compositions by Eirik Berg Svela except “I´ll Be Seeing You” by Sammy Fain

Recorded March 1st & 2nd 2018 by Dan Shatzky at Vibromonk Studios, Brooklyn, New York Recorded March 1st & 2nd 2018 by Dan Shatzky at Vibromonk Studios, Brooklyn, New York Mixed April 2018 by David Aleksander Sjølie at Kvadraturen Studios, Oslo, Norway Mixed April 2018 by David Aleksander Sjølie at Kvadraturen Studios, Oslo, Norway Mastered May 2018 by Michael Perez-Cisneros at Point Sonic Sound, Brooklyn, New York Mastered May 2018 by Michael Perez-Cisneros at Point Sonic Sound, Brooklyn, New York Produced by Eirik Berg Svela, Sam Yahel, Dave Edge & Tore Thorvaldsen Sandbakken Produced by Eirik Berg Svela, Sam Yahel, Dave Edge & Tore Thorvaldsen Sandbakken This recording was partly funded by The Norwegian Academy of Music This recording was partly funded by The Norwegian Academy of Music Executive producer Odd Gjelsnes Executive producer Odd Gjelsnes Front cover artwork by Hannah Watkinson Front cover artwork by Hannah Watkinson Cover design by design holtmann

Cover design by design holtmann

Losen Records LOS 201-2 Losen Records LOS 201-2 Thanks to colleagues, teachers, family, friends and everybody who have made Thanks to colleagues, teachers, family, friends and everybody who have made an impact on my life and therefore have made this album possible. an impact on my life and therefore have made this album possible. Special thanks to Aksel for being all those things combined. Special thanks to Aksel for being all those things combined.

on this CD is a violation of applicable laws. Made in EU. ISRC: NO2NJ1801 on this CD is a violation of applicable laws. Made in EU. ISRC: NO2NJ1801

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intervals and with such short available studio time that the the that time studio available short such with and intervals

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of necessity because records were made at such regular regular such at made were records because necessity of freshness to the listening experience. experience. listening the to freshness exemplified by the repeated saxophone phrase on the the on phrase saxophone repeated the by exemplified

of necessity because records were made at such regular regular such at made were records because necessity of freshness to the listening experience. experience. listening the to freshness

exemplified by the repeated saxophone phrase on the the on phrase saxophone repeated the by exemplified reflecting the climate, and atmospheric, reflecting the fjords including a nice handover to Edge who, with a mixture of

standards that all the musicians would know. This was was This know. would musicians the all that standards order as well as programming and the result brings brings result the and programming as well as order out melancholic but has a soulfully uplifting effect as as effect uplifting soulfully a has but melancholic out standards that all the musicians would know. This was was This know. would musicians the all that standards order as well as programming and the result brings brings result the and programming as well as order out melancholic but has a soulfully uplifting effect as as effect uplifting soulfully a has but melancholic out

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assertive and vulnerable on the latter, a ballad that starts starts that ballad a latter, the on vulnerable and assertive and the landscape. legato lines and staccato notes, creates heat while his pacing

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their playing and support allow Svela to emphasise his love love his emphasise to Svela allow support and playing their Sandbakken also take solos – and is that a sly reference to to reference sly a that is and – solos take also Sandbakken compositions that invite his colleagues to express express to colleagues his invite that compositions their playing and support allow Svela to emphasise his love love his emphasise to Svela allow support and playing their Sandbakken also take solos – and is that a sly reference to to reference sly a that is and – solos take also Sandbakken

compositions that invite his colleagues to express express to colleagues his invite that compositions that a sly reference to Wives and Lovers from the eminently Eirik Berg Svela’s music is certainly cool, although it takes its but approaches and voices own their have all Sandbakken creates heat while his pacing remains cool. Yahel and and Yahel cool. remains pacing his while heat creates

are another two of Svela’s Svela’s of two another are and Sandbakken all have their own voices and approaches but but approaches and voices own their have all Sandbakken creates heat while his pacing remains cool. Yahel and and Yahel cool. remains pacing his while heat creates In Awe Of Awe In n/a are another two of Svela’s Svela’s of two another are and In Awe Of Awe In n/a

Dave Edge and Norwegian drummer Tore Thorvaldsen Thorvaldsen Tore drummer Norwegian and Edge Dave who, with a mixture of legato lines and staccato notes, notes, staccato and lines legato of mixture a with who, and driving towards the crisp coda. crisp the towards driving and

and driving towards the crisp coda. crisp the towards driving and cue from a coast thousands of miles from Norway. Indeed, resourceful organist? – but this is a rare occasion when all

born Hammond organist Sam Yahel, English saxophonist saxophonist English Yahel, Sam organist Hammond born fluent solo-building, including a nice handover to Edge Edge to handover nice a including solo-building, fluent Yahel’s quick-thinking choruses before soloing concisely concisely soloing before choruses quick-thinking Yahel’s born Hammond organist Sam Yahel, English saxophonist saxophonist English Yahel, Sam organist Hammond born fluent solo-building, including a nice handover to Edge Edge to handover nice a including solo-building, fluent Yahel’s quick-thinking choruses before soloing concisely concisely soloing before choruses quick-thinking Yahel’s

commitment to the American jazz tradition. Louisiana- tradition. jazz American the to commitment solo with a bluesy display of logical, melodic invention and and invention melodic logical, of display bluesy a with solo muscular improvisation from Edge between Svela and and Svela between Edge from improvisation muscular commitment to the American jazz tradition. Louisiana- tradition. jazz American the to commitment solo with a bluesy display of logical, melodic invention and and invention melodic logical, of display bluesy a with solo

muscular improvisation from Edge between Svela and and Svela between Edge from improvisation muscular in the promo for another, home-based quartet, Svela admits four musicians solo on one tune. Svela clearly gave thought

The international quartet he fronts here confirms his his confirms here fronts he quartet international The a statement of intent in several ways. Svela takes the first first the takes Svela ways. several in intent of statement a kicks the group along authoritatively and elicits a a elicits and authoritatively along group the kicks

Rob Adams May 2018 May Adams Rob

York guitarists. guitarists. York one another through sometimes intricate cornering, it’s it’s cornering, intricate sometimes through another one searching melody. Having set the tempo, Sandbakken Sandbakken tempo, the set Having melody. searching York guitarists. guitarists. York to rotating soloing order as well as programming and the one another through sometimes intricate cornering, it’s it’s cornering, intricate sometimes through another one searching melody. Having set the tempo, Sandbakken Sandbakken tempo, the set Having melody. searching to having an unhealthy obsession with New York guitarists.

Svela admits to having an unhealthy obsession with New New with obsession unhealthy an having to admits Svela executed melody with guitar and saxophone partnering partnering saxophone and guitar with melody executed tenor saxophone style would have suited its tangling, tangling, its suited have would style saxophone tenor set, although it does have quite a lot of competition. competition. of lot a quite have does it although set,

set, although it does have quite a lot of competition. competition. of lot a quite have does it although set, result brings freshness to the listening experience.

Indeed, in the promo for another, home-based quartet, quartet, home-based another, for promo the in Indeed,

opens the album. A smartly smartly A album. the opens track title The

is an anagram of Warne Marsh, whose whose Marsh, Warne of anagram an is and he signs off with possibly the strongest solo of the the of solo strongest the possibly with off signs he and Indeed, in the promo for another, home-based quartet, quartet, home-based another, for promo the in Indeed, Bits & Pieces & Bits opens the album. A smartly smartly A album. the opens track title The New Arm Rash Rash Arm New is an anagram of Warne Marsh, whose whose Marsh, Warne of anagram an is and he signs off with possibly the strongest solo of the the of solo strongest the possibly with off signs he and Bits & Pieces & Bits New Arm Rash Rash Arm New

takes its cue from a coast thousands of miles from Norway. Norway. from miles of thousands coast a from cue its takes rising progression are just two examples. two just are progression rising Crossword enthusiasts might already have noticed that that noticed have already might enthusiasts Crossword and its potential for injecting urgency into guitar phrases phrases guitar into urgency injecting for potential its and

and its potential for injecting urgency into guitar phrases phrases guitar into urgency injecting for potential its and The international quartet he fronts here confirms his

Eirik Berg Svela’s music is certainly cool, although it it although cool, certainly is music Svela’s Berg Eirik

and statement initial turning and twisting pulls out a particularly soulful solo. soulful particularly a out pulls knows the potency of Wes’ octave double stopping style style stopping double octave Wes’ of potency the knows Eirik Berg Svela’s music is certainly cool, although it it although cool, certainly is music Svela’s Berg Eirik End of Days’ of End and statement initial turning and twisting pulls out a particularly soulful solo. soulful particularly a out pulls knows the potency of Wes’ octave double stopping style style stopping double octave Wes’ of potency the knows End of Days’ of End

and the landscape. the and follows that bridge stone-like stepping over Yahel’s superbly understated organ support and and support organ understated superbly Yahel’s over Wes Montgomery. Like George Benson before him, Svela Svela him, before Benson George Like Montgomery. Wes

and the landscape. the and Shame (On) Us’s (On) Shame follows that bridge stone-like stepping over Yahel’s superbly understated organ support and and support organ understated superbly Yahel’s over Wes Montgomery. Like George Benson before him, Svela Svela him, before Benson George Like Montgomery. Wes

commitmentUs’s (On) Shame to the American jazz tradition. Louisiana- Next Time I See You is a fine example of Svela’s ability

reflecting the climate, and atmospheric, reflecting the fjords fjords the reflecting atmospheric, and climate, the reflecting his fellow musicians clearly love extemporising over. The The over. extemporising love clearly musicians fellow his drums. Svela articulates its mood of regretful nostalgia nostalgia regretful of mood its articulates Svela drums. guitarists morphs into full-on admiration for an Indianan, Indianan, an for admiration full-on into morphs guitarists reflecting the climate, and atmospheric, reflecting the fjords fjords the reflecting atmospheric, and climate, the reflecting his fellow musicians clearly love extemporising over. The The over. extemporising love clearly musicians fellow his drums. Svela articulates its mood of regretful nostalgia nostalgia regretful of mood its articulates Svela drums.

guitarists morphs into full-on admiration for an Indianan, Indianan, an for admiration full-on into morphs guitarists to conjure up new numbers that feel almost immediately Received wisdom has it that Nordic jazz is essentially cool, cool, essentially is jazz Nordic that it has wisdom Received born Hammond organist Sam Yahel, English saxophonist that arrangements and changes chord creating of knack the , features just guitar, organ and and organ guitar, just features , aforementioned unhealthy obsession with New York York New with obsession unhealthy aforementioned Received wisdom has it that Nordic jazz is essentially cool, cool, essentially is jazz Nordic that it has wisdom Received the knack of creating chord changes and arrangements that that arrangements and changes chord creating of knack the I’ll Be Seeing You Seeing Be I’ll , features just guitar, organ and and organ guitar, just features , aforementioned unhealthy obsession with New York York New with obsession unhealthy aforementioned

I’ll Be Seeing You Seeing Be I’ll Dave Edge and Norwegian drummer Tore Thorvaldsen familiar. Buoyed by Sandbakken’s light, springy drumming, Sandbakken all have their own voices and approaches but Yahel, Edge and Svela all solo lucidly, with the organist their playing and support allow Svela to emphasise his love reprising the melody before going back for more, as it were, for - and to add to - the music that came out of the great and Edge sounding not unlike his fellow Englishman, Blue Note and Prestige recordings of the 1960s. the late, great Tubby Hayes.

Very often on these sessions, the tunes called out were Shame (On) Us, with its spunky, rhythmical guitar intro, standards that all the musicians would know. This was is dedicated to saxophonist Seamas Blake, hence the of necessity because records were made at such regular bracketed “on”, and End of Days, as with I’ll Be Seeing intervals and with such short available studio time that You, features just guitar, organ and drums. Svela articulates the leaders didn’t always have new original material to play. its mood of regretful nostalgia over Yahel’s superbly understated organ support and pulls out a particularly Of the nine tracks here, one, I’ll Be Seeing You, is a standard soulful solo. and another, New Arm Rash, is a contrafact, a new melody written over an existing chord sequence, in this case that of Crossword enthusiasts might already have noticed that There Will Never Be Another You. The other seven tracks New Arm Rash is an anagram of Warne Marsh, whose tenor are Svela originals and it often seems to this listener that the saxophone style would have suited its tangling, searching guitarist has, whether by collision or decision, created what melody. Having set the tempo, Sandbakken kicks the group might turn out to be new standards. along authoritatively and elicits a muscular improvisation from Edge between Svela and Yahel’s quick-thinking He has a terrific ear for melody and he has developed the choruses before soloing concisely and driving towards the knack of creating chord changes and arrangements that crisp coda. his fellow musicians clearly love extemporising over. The stepping stone-like bridge that follows Shame (On) Us’s n/a and In Awe Of are another two of Svela’s compositions twisting and turning initial statement and End of Days’ that invite his colleagues to express themselves and Yahel rising progression are just two examples. responds on the former with lovely tonal variations and superb note choices. Edge is both assertive and vulnerable The title track opens the album. A smartly executed melody on the latter, a ballad that starts out melancholic but has with guitar and saxophone partnering one another through a soulfully uplifting effect as exemplified by the repeated sometimes intricate cornering, it’s a statement of intent in saxophone phrase on the fade-out. several ways. Svela takes the first solo with a bluesy display The teacher to whom Svela dedicated the composition at the request of Donald Fagen and Walter Becker. As a solo assignment T.E. will surely be proud of the association. artist, Yahel has made his most personal statements Reminiscent of Charles Mingus’s “Ah Um” band channelling as both composer and player. His album, Truth and Beauty, a close relative of The Pink Panther theme, it has a church was selected on the New York Times top 10 jazz albums music quality emphasised by Yahel’s preaching style and of the year, and his latest album, From Sun to Sun, garnered Edge sounds like he might be – successfully - auditioning critical praise for its unique perspective in combining both for the Mingus Big Band, whose Ronnie Cuber he has played his voice on piano and organ into one seamless thread. Sam with on occasion. has performed with his trio both domestically at places such as the Village Vanguard as well as overseas at prestigious Which brings us to I’ll Be Seeing You, where Svela’s festivals such as North Sea Jazz. aforementioned unhealthy obsession with New York guitarists morphs into full-on admiration for an Indianan, Wes Dave Edge Montgomery. Like George Benson before him, Svela knows Originally from the U.K., Norwegian based tenor the potency of Wes’ octave double stopping style and its saxophonist and composer Dave Edge has performed with potential for injecting urgency into guitar phrases and he Kenny Wheeler, Jon Surman, Sam Yahel, Lew Solloff and signs off with possibly the strongest solo of the set, although Ronnie Cuber as well as many other leading musicians in it does have quite a lot of competition. Norway and the U.K. As well as leading his own quartet, he is currently a member of ” The Real Thing” one of the most established and popular jazz groups in Norway. He regularly performs with Øystein Sunde on baritone saxophone Eirik Berg Svela and is a member of «Four brothers» - an ensemble which Eirik Berg Svela is a Norwegian guitarist and composer includes leading Norwegian saxophone players, currently based in Oslo. After finishing his degree at Leeds Petter Wettre, Knut Riisnæs and Børge-Are Halvorsen. College of Music he worked in the U.K. for several years as a freelance musician and since moving back to Norway in 2014 Tore Thorvaldsen Sandbakken he has been establishing himself as an important new voice Tore Thorvaldsen Sandbakken is an award-winning of a new generation of jazz musicians in Oslo. In 2018 he drummer currently residing in Oslo, Norway. Originally completed his master´s degree at the Norwegian Academy from Trondheim, he cut his teeth on the records of Steely of Music. Dan and the Beatles before shifting his attention to jazz and related improvisational music. This led Tore to study As an improviser and composer Eirik is attracted to pretty at the Norwegian Academy of Music, where he completed melodies and complicated chord changes. His band Eirik bachelor’s and master’s degrees in jazz performance from Svela Group has been playing extensively in Norway, and in 2006-2012. November 2018 he will be touring in the U.K. with a special rendition of this band with some of the greatest young Tore is one of the leading drummers of his generation in musicians in the U.K. today. Norway, and is well versed in a multitude of genres. He has been involved in a large number of projects in the jazz/ Eirik also plays in the group MonicaZ Vals, a group dedicated impro vein, both as a leader and a co-leader. These include to the music of the Swedish jazz singer Monica Zetterlund. groups such as Mapping Oceans, Dag-Filip Roaldsnes This band features amongst others the hammond B3 player Ensemble, Odd Steinar Albrigtsen Quintet, Speakeasy Palle Wagnberg, one of Scandinavias most renowned organ (nominated for Spellemannsprisen, the Norwegian Grammy players. in 2009), Aphrodisiac and Bergljot. He has worked with renowned artists and musicians such as Jens Carelius, In addition to his regular bands Eirik has worked with many Jan Vardøen (Autumn Fall - motion picture soundtrack), great musicians including Atle Nymo, Hermund Nygård and Nils Petter Molvær, Arrigo Cappelletti, Stein Bull-Hansen Daniel Franck. amongst others. His musical activities have seen him touring internationally, both as a leader and a sideman. In addition to Sam Yahel performing live, Tore is a sought-after studio musician A distinctive voice among a new breed of Hammond B-3 and has appeared on numerous recordings over the years organ players on the jazz scene, Sam Yahel has earned the (see discography for details). Tore also composes for many top spot in Downbeat’s International Critics Poll as a Talent of his projects. Deserving of Recognition for many years in a row. Equally at home on the piano as on the organ, Sam belongs to a rare As a musician, Tore is known for his brilliant musicality and his breed of multi-instrumentalists. ability to bring something of his own to the table, regardless of the setting. As well as being a drummer, he is a proficient Since moving to New York in 1990, Yahel has worked with guitarist, singer and pianist, and he is also a skilled producer a string of notable jazz artists including tenor saxophonist and sound engineer. In addition to playing jazz, Tore has a Joshua Redman, alto saxophonist Maceo Parker, guitarists rare sensibility for pop music, and a solid understanding of Peter Bernstein and Bill Frisell, vocalists Norah Jones (on country and folk music. He is currently working on several her Grammy-winning Come Away With Me) and Madeleine different projects, the common denominator of which is Peyroux, among others. Sam has also toured the world with music with a groove that breathes. his organ trio as an opening act for Steely Dan,

LOS 201-2 MusikkLosen Tel. + 47 22 19 82 82 [email protected] www.losenrecords.no Release September 28, 2018