croneholm, day 1

The first session with Josefine Cronholm was incredibly productive and inspiring. Her skill and strong expression made a great impression on Maggi, Peter and I and the discussions were honest and meaningful right from the start.

Without going into detail right now it is worth thinking about what makes a meeting such as ours meaningful. Of course, we all know each other since long so, even though we haven’t played together before in this constellation we share some common ground. Equally obvious is that we are covering similar aesthetic grounds, we appreciate similar kinds of music and similar modes of expression. (The same, however, could have been said about our sessions with Katt but that music was very different from the one we were playing today.) Finally we work well socially, we enjouyed talking and playing together.

Still, there is something else in addition to this. There are other factors that have a play in the immediate success of our encounter. As a summary of our discussions today I think they reflected this ‘other’, non-tangible quality. My personal impression is that it has to do with a sensibility towards the other, but probably even more, a sensibility towards the music and the musical other.

We really only played one tune, a new piece by me (A Cradle Song), a free improvisation on the same piece and another free improvisation.

session 1 – november 2014

The purpose of the sessions we did as a trio in November-December 2014 was to explore our own sound, or our own aesthetics if you wish. What is our conceptual gravity? Towards what kind of music do we lean? What part of what comes “naturally” is something we aim for, and what part of it is something we would rather avoid? Or, expressed differently: What in what we play is part of an unmediated habit rather than expressive will?

The method we chose was to work with restraints. The instructions for an improvisation could be “Dark, in tempo, long tones” and “Little activity, long pauses, great dynamics”. There is a tendency for these pieces to lean to a minimalistic sound, with repetition and equal distribution of activity between the three instruments.

Included here is a short excerpt of such an excercise.