|20:00 | 30/10 2016||Ali Theater, Waldschut-Tiengen (DE)|
|20:00 | 31/10 2016||Treibhaus, Innsbruck (AU)|
|20:00 | 01/11 2016||KFZ, Marburg (DE)|
|20:00 | 02/11 2016||TBA (DE)|
|20:00 | 03/11 2016||bFlat, Berlin (DE)|
|20:00 | 04/11 2016||Fürstenwalde, Kulturfabrik (DE)|
|20:00 | 05/11 2016||Jameln, Platenlaase (DE)|
|20:00 | 19/11 2016||Pit Inn, Tokyo (JP)|
|20:00 | 20/11 2016||Pit Inn, Tokyo (JP)|
|20:00 | 21/11 2016||Nardis, Kashiwa|
|20:00 | 22/11 2016||Airegin, Yokohama (JP)|
|20:00 | 23/11 2016||La Sone, Jyoetsu (JP)|
|20:00 | 24/11 2016||Jazz Flash, Niigata (JP)|
|20:00 | 25/11 2016||Mokkiriya, Kanazawa (JP)|
|20:00 | 04/02 2017||Winterjazz festival, Brelingen (DE)|
|20:00 | 05/02 2017||Kampenjazz, Oslo|
"The time was ripe. Both for creating something authentic in a different format, and for collaborating with young, new, and different musicians. For a long time, maybe even since I began my career as a freelance-musician in 1985, I had been inspired by a dream of recording an acoustic album with a quartet. At that time I worked mainly within the North American jazz tradition, in both big band settings and with smaller ensembles, and took productive lessons with saxophonists Dale, Riisnes and Indreberg. Both the form and the content of the North American tradition were confining and "foreign" to me. A totally new landscape opened up for me when I realised that it was possible to delve into the traditions of my own country and explore our own sounds and rhythms. I discovered that improvisation based on Norwegian sources was possible, and even liberating. This opened up a whole new world of possibilities for me.
It takes a long time to gain acceptance for new idioms that are built on the sounds of previous generations. Several Norwegian musicians have been in the forefront of these developments, also internationally, and have created new approaches to improvisation: jazz where melody, harmony, improvisation, rhythm, and structure are based on other roots and other traditions than those of North America.
My dream of recording an acoustic album has matured through performing, composing, and releasing CDs. In this recording my main goal is to hear for myself whether the music that I have created through my exploration of Norwegian folk music can function in the format that is, perhaps, the one most closely associated with jazz from a historical perspective: the quartet.
Journalist Terje Mosnes has said that he defines Norwegian jazz as the music that is being played by Norwegian jazz musicians at any giventime – with their multitude of distinctive voices. I have always considered myself to be a jazz musician in the sense that I can improvise. I have never felt that it was important to put a label on my music. But since it is the case that many people want their music placed neatly in a category before they listen to it, I have decided to simplify matters for everyone by calling this album “norskjazz no”(Norwegian jazz now).
My most important parameter throughout these years as a musician and composer has been, and remains: sound (KLANG!). My approach to playing, creating and improvising is mainly klang: sound-based. This is also the focal point of the album "norskjazz no".
Karl Seglem, February 2009
Karl Seglem Acoustic Quartet - Japan Tour coming up!
More info (in Japanese) here: http://diskunion.net/jazz/ct/news/article/0/61780
Music from Norway | By John Kelman
"Why and how has the Norwegian scene managed to build such a reputation, not just on its own turf but around the world? There are a number of answers to that question, but first and foremost is a commitment to the arts that began more than 40 years ago and which has, unlike so many other countries, remained a priority ever since. When Sverre Lunde, from the Ministry of Foreign Affairs, spoke at the 2013 Punkt Festival in Kristiansand – announcing that, after nine years, the Ministry would be providing some well-deserved (and much needed) financial support to the festival, and that Punkt was now considered amongst the country’s elite events – what was, perhaps, an even more compelling statement was that the country’s goal has been to devote a full one percent of its budget to culture. That means that last year, in 2012, ten billion Norwegian Kroners – nearly 1.7 billion US dollars – was devoted to the arts. As a Canadian in a bilingual country, there’s a French word to describe this: incroyable!"
|14/04 | 2016||LMS, Austria|
|26/11 | 2015||Jazzklubb Arendal|
|25/11 | 2015||Blaoboxen, Sogndal|
|20/11 | 2015||Nasjonal Jazzscene, Oslo|
|19/11 | 2015||Aasentunet, Volda|
|14/11 | 2015||Jameln, Platenlaase|
|13/11 | 2015||B-Flat, Berlin|
|12/11 | 2015||B-Flat, Berlin|
|11/11 | 2015||Nesodden, Hellviktangen|
|18/10 | 2015||Asker Kulturhus|
|15/10 | 2015||Spor 5, Stavanger|
|20/11 | 2014||B Flat, Berlin|
|15/11 | 2014||JFK|
|01/11 | 2014||Tampere Jazz Happening|
|04/09 | 2014||Kalkmølla Kulturstasjon|
|08/05 | 2014||Pucheim (DE)|
|12/04 | 2014||Gamlekinoen, Vossajazz|
|07/03 | 2014||Municipal School, Mumbai|
|07/03 | 2014||DPS, East|
|06/03 | 2014||Calorax Global School|