Фирма Rune Grammofon

A vinyl only release of two epic outtakes that didn't make it on the main album due to lack of space! Record Label: Rune Grammofon Style: Avantgarde

Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. He has received a number of awards, including three Norwegian Grammies (Spellemannpris), the last being the honorary award in 2005. Sky Record Label: Rune Grammofon Style: Avantgarde

Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. He has received a number of awards, including three Norwegian Grammies (Spellemannpris), the last being the honorary award in 2005. Sky Record Label: Rune Grammofon Style: Avantgarde

Among the most stunning and musical electronic works ever produced, these five compositions represent the complete electronic works of Norwegian composer Arne Nordheim (1931-2010). They have stood the test of time remarkably well and have been embraced by new generations of influential musicians. This audiophile 2LP comes in an edition of only 500 copies in a beautiful gatefold sleeve with updated credits and liner notes. The sound has been mastered by Helge Sten (Deathprod) specifically for this vinyl edition, sourced from the original analogue master tapes and painstakingly restored before being transferred to 24bit/96kHz for the best possible audio results. Record Label: Rune Grammofon Style: Avantgarde

First time on vinyl for Arve's heartwrenching 2004 album. Record Label: Rune Grammofon Style: Avantgarde

With "Towards Language" trumpeter Arve Henriksen is back with his trusted long time musical partners Jan Bang and Erik Honoré. Arve first collaborated with the pair on the much loved and highly praised "Chiaroscuro" (2004), Arve's second album, and later on "Cartography" (ECM 2008) and "Places Of Worship" (2013). Also an important part of the line-up is Eivind Aarset, the ECM associated guitarist extraordinaire. "Towards Language" is Arve's ninth album (eight on Rune Grammofon and one on ECM) under his own name, in addition he has collaborated on records with artists like David Sylvian, Jon Balke, Christian Wallumrod, Trygve Seim and Trio Mediaeval, as well as a dozen albums as founder member of free noise trio Supersilent. Arve has never been short of praise when it comes to expressing the importance his collaborators and musicians have on the creative process. Asked to comment on his new album, and its title, here's what he has to say: "To express something on your own can be quite challenging at times. I have for years been in creative collaborations with musicians and producers that have ecouraged and inspired me. With this help and inspiration to discover new sounds and music I have struggled and made my way to gradually be able to create some sort of language and a way of telling stories with my trumpet and singing. They have all coloured and gradually transformed me through different artistic timezones that I have passed through. All the information, concerts, discussions and impressions have had a significant impact on the process of gradually coming closer towards the core of communication through music. With this recording, the good help and inspirational artistic contributions from Eivind Aarset and Jan Bang at the recording session in Oslo has led to these selected tracks. Music that has a connection to "Places of Worship", but this time recorded "live" in the studio in a chamber music like approach inspired by contemporary elements from composers like Toru Takemitsu and Manuel de Falla, to traditional organ music, and at the end of the album bringing in a traditional "kven" (ancient Nordic song tradition) theme from the roots of my family from the North of Norway, sung by Anna Maria Friman of Trio Mediaeval. Record Label: Rune Grammofon Style: Avantgarde

With "Towards Language" trumpeter Arve Henriksen is back with his trusted long time musical partners Jan Bang and Erik Honoré. Arve first collaborated with the pair on the much loved and highly praised "Chiaroscuro" (2004), Arve's second album, and later on "Cartography" (ECM 2008) and "Places Of Worship" (2013). Also an important part of the line-up is Eivind Aarset, the ECM associated guitarist extraordinaire. "Towards Language" is Arve's ninth album (eight on Rune Grammofon and one on ECM) under his own name, in addition he has collaborated on records with artists like David Sylvian, Jon Balke, Christian Wallumrod, Trygve Seim and Trio Mediaeval, as well as a dozen albums as founder member of free noise trio Supersilent. Arve has never been short of praise when it comes to expressing the importance his collaborators and musicians have on the creative process. Asked to comment on his new album, and its title, here's what he has to say: "To express something on your own can be quite challenging at times. I have for years been in creative collaborations with musicians and producers that have ecouraged and inspired me. With this help and inspiration to discover new sounds and music I have struggled and made my way to gradually be able to create some sort of language and a way of telling stories with my trumpet and singing. They have all coloured and gradually transformed me through different artistic timezones that I have passed through. All the information, concerts, discussions and impressions have had a significant impact on the process of gradually coming closer towards the core of communication through music. With this recording, the good help and inspirational artistic contributions from Eivind Aarset and Jan Bang at the recording session in Oslo has led to these selected tracks. Music that has a connection to "Places of Worship", but this time recorded "live" in the studio in a chamber music like approach inspired by contemporary elements from composers like Toru Takemitsu and Manuel de Falla, to traditional organ music, and at the end of the album bringing in a traditional "kven" (ancient Nordic song tradition) theme from the roots of my family from the North of Norway, sung by Anna Maria Friman of Trio Mediaeval. Record Label: Rune Grammofon Style: Avantgarde

Axiom has significant historical importance by being what is quite possibly the first European free jazz record, even if it was not released at the time. Recorded in Copenhagen in October 1963, it should have been Tom Prehn Quartet's debut album for the Sonet label. But by the time the test pressings arrived, a couple of months later, the music already sounded old to them and Sonet subsequently pulled the plug. A few sleeves and labels had been printed but only two complete copies survived, making it one of the rarest jazz albums ever. Axiom is expressive, full frontal free jazz of the highest order, and to think it was created by Danish musicians, most of them barely into their twenties, in 1963, is frankly mind-boggling. On the other hand, Scandinavian audiences, especially in Denmark and Sweden, had already welcomed controversial musicians like Albert Ayler and Cecil Taylor with open arms.. Needless to say, we're very proud to release this album for the first time on vinyl. The original sleeve has been painstakingly recreated by Kim Hiorthoy. Axiom was released on CD by Corbett vs Dempsey in 2015. Record Label: Rune Grammofon Style: Jazz

Even Helte Hermansen - guitar, Rune Nergaard - bass, Gard Nilssen - drums. They've been called the missing link between Albert Ayler and Black Sabbath and a Marshall amp version of John Coltrane's Interstellar Space. With this, their eight album, they go all the way back to their humble beginnings some twelve years ago and for the first time do what can loosely be dubbed a "proper" jazz album. Hence the album title which translates "Jazz, From Memory" in English. Getting back together after a much needed break from the group, they all felt that they had taken the prog/jazz/rock concept as far as they possibly could, and had a strong urge to go back to their music school days when jazz was on the agenda and Coltrane was God. Being a bit older and more experienced, a bit tired of fast and loud, less to prove and more confident, the new studio sessions proved to be the most natural, organic and all around joyful they have done. The goal, according to Even Hermansen, is still to explore the link between the Shorter/Coltrane world on one side and electric blues/Hendrix on the other, but without having to turn it all up to eleven. Sporting four originals and two cover versions - McCoy Tyner's "Contemplation" and Albert Ayler's "Angels" - this is easily their most confident, spiritual, heartfelt and fully realised album so far. Record Label: Rune Grammofon Style: Jazz

This, their second live album, captures the band at Oslo's rock den Café Mono at their most cosmic and trippy. With an extended line-up including sax giant Kjetil Moster and Hammond whizz David Wallumrod they stir up quite a storm, with "Total Fucking Marmalade" being a brand new track, "Yoga" being an extended workout of "Baklengs Inn I Fuglekassa" from "Thou Shalt Boogie" and "As We Used To Sing", the Sonny Sharrock tune and a live favourite that's been with them since the beginning, but never sounded better than here. Record Label: Rune Grammofon Style: Jazz

Even Helte Hermansen - guitar, Rune Nergaard - bass, Gard Nilssen - drums. They've been called the missing link between Albert Ayler and Black Sabbath and a Marshall amp version of John Coltrane's Interstellar Space. With this, their eight album, they go all the way back to their humble beginnings some twelve years ago and for the first time do what can loosely be dubbed a "proper" jazz album. Hence the album title which translates "Jazz, From Memory" in English. Getting back together after a much needed break from the group, they all felt that they had taken the prog/jazz/rock concept as far as they possibly could, and had a strong urge to go back to their music school days when jazz was on the agenda and Coltrane was God. Being a bit older and more experienced, a bit tired of fast and loud, less to prove and more confident, the new studio sessions proved to be the most natural, organic and all around joyful they have done. The goal, according to Even Hermansen, is still to explore the link between the Shorter/Coltrane world on one side and electric blues/Hendrix on the other, but without having to turn it all up to eleven. Sporting four originals and two cover versions - McCoy Tyner's "Contemplation" and Albert Ayler's "Angels" - this is easily their most confident, spiritual, heartfelt and fully realised album so far. CD, Album

This historical recording is something of a milestone, and it's a mystery why it has been kept away from the public for over thirty years. More about that later. If anybody deserves to be called a living legend in Norwegian free jazz it must surely be saxophone, flute and clarinet player Frode Gjerstad. Born in 1948 in Stavanger, he has since the late 70s been central on more than fifty records and played with a number of free jazz players such as Evan Parker, Johnny Dyani, John Stevens, Derek Bailey, Barry Guy, Bobby Bradford, Paul Rutherford, Hamid Drake, William Parker, Peter Brötzmann, John Edwards, Louis Moholo-Moholo, Han Bennink and several others. With Detail he has released eight albums, with Circulatione Totale Orchestra there are seven records (one of which is "Bandwith" on Rune Grammofon, RCD2089) and five with Frode Gjerstad Trio, (with drummer Paal Nilssen-Love and bassist Oyvind Storesund) there are five albums. There are also numerous duo, trio and group recordings. He received the Norwegian "Jazz Musician Of The Year" award in 1996, and the prestigious Buddy Award in 2009. Eivin One Pedersen (1956-2012) was also born in Stavanger and remained a very close friend of Frode ever since they met in 1975 and started their first band together, Ida Lupino, before they a few years later invited John Stevens to come to Stavanger and be a part of Detail. He released his solo album "Solo Mio" in 1981 and formed Aha! in 1984. Their debut album "Keep Nose In Front" was released the same year, before they for obvious reasons had to change their name. Under the name Extended Noise they released two more records, in 1986 and 1990. John Stevens (1940-1994) is an important musician in the history of free jazz. We could fill pages with his credentials, but his main focus was always the Spontaneous Music Ensemble, the group he founded with Trevor Watts and Paul Rutherford in 1966, and stayed with throughout numerous personel changes until his untimely death in 1994. Detail was intended as a quartet, with Johnny Dyani on bass, as suggested by John Stevens. They played a tour of Norway in March 1982, did the Molde Jazz Festival in the summer and had a tour lined up for the fall, but Johnny didn't make the first gig at the Henie Onstad Art Center outside Oslo, where this recording is from. Eivin left the group after the tour, and the remaining trio of Gjerstad, Stevens and Dyani went straight to Stavanger and recorded Detail's two first albums, "Backwards and Forwards" (Impetus 1983) and "Okhela" (Affinity 1984). So the intended quartet never got to make a record, but some live recordings do exist, so maybe one day. So why the delay? The main reason, according to Gjerstad, is that he couldn't listen to the recordings because there were too many feelings involved. His close friend suddenly left the group, Dyani died in 1986, then Stevens in 1994 and Pedersen in 2012. There was also some doubt about his own playing, but after listening to the tapes last summer he realised how good everything was. And make no mistake, this is a fantastic album! It's almost unbelivable that Eivin One Pedersen had just turned 26 at the time of recording, what an incredible talent he was! Also note his use of the organ on this date, not an instrument much used in free jazz, but to great effect here, also doing the "missing" bass parts. John Stevens is also great on this recording, quite different from what we're used to with the SME, more "open" possibly? It's been said that his playing with Gjerstad brought out other qualities in him, and we wouldn't argue about that. Gjerstad is, as always, himself. At a time when most Norwegian sax players wanted to be Jan Garbarek, Gjerstad followed his own nose. In that respect there are no obvious references to other sax players. In our ears he is one of the giants still active on the international scene. Frode Gjerstad: Saxophones, bass clarinet and alto flute John Stevens: Drums Eivin One Pedersen: Piano and keyboards Tracks: This Is The, First Version, Of Detail Record Label: Rune Grammofon Style: Jazz

This historical recording is something of a milestone, and it's a mystery why it has been kept away from the public for over thirty years. More about that later. If anybody deserves to be called a living legend in Norwegian free jazz it must surely be saxophone, flute and clarinet player Frode Gjerstad. Born in 1948 in Stavanger, he has since the late 70s been central on more than fifty records and played with a number of free jazz players such as Evan Parker, Johnny Dyani, John Stevens, Derek Bailey, Barry Guy, Bobby Bradford, Paul Rutherford, Hamid Drake, William Parker, Peter Brötzmann, John Edwards, Louis Moholo-Moholo, Han Bennink and several others. With Detail he has released eight albums, with Circulatione Totale Orchestra there are seven records (one of which is "Bandwith" on Rune Grammofon, RCD2089) and five with Frode Gjerstad Trio, (with drummer Paal Nilssen-Love and bassist Oyvind Storesund) there are five albums. There are also numerous duo, trio and group recordings. He received the Norwegian "Jazz Musician Of The Year" award in 1996, and the prestigious Buddy Award in 2009. Eivin One Pedersen (1956-2012) was also born in Stavanger and remained a very close friend of Frode ever since they met in 1975 and started their first band together, Ida Lupino, before they a few years later invited John Stevens to come to Stavanger and be a part of Detail. He released his solo album "Solo Mio" in 1981 and formed Aha! in 1984. Their debut album "Keep Nose In Front" was released the same year, before they for obvious reasons had to change their name. Under the name Extended Noise they released two more records, in 1986 and 1990. John Stevens (1940-1994) is an important musician in the history of free jazz. We could fill pages with his credentials, but his main focus was always the Spontaneous Music Ensemble, the group he founded with Trevor Watts and Paul Rutherford in 1966, and stayed with throughout numerous personel changes until his untimely death in 1994. Detail was intended as a quartet, with Johnny Dyani on bass, as suggested by John Stevens. They played a tour of Norway in March 1982, did the Molde Jazz Festival in the summer and had a tour lined up for the fall, but Johnny didn't make the first gig at the Henie Onstad Art Center outside Oslo, where this recording is from. Eivin left the group after the tour, and the remaining trio of Gjerstad, Stevens and Dyani went straight to Stavanger and recorded Detail's two first albums, "Backwards and Forwards" (Impetus 1983) and "Okhela" (Affinity 1984). So the intended quartet never got to make a record, but some live recordings do exist, so maybe one day. So why the delay? The main reason, according to Gjerstad, is that he couldn't listen to the recordings because there were too many feelings involved. His close friend suddenly left the group, Dyani died in 1986, then Stevens in 1994 and Pedersen in 2012. There was also some doubt about his own playing, but after listening to the tapes last summer he realised how good everything was. And make no mistake, this is a fantastic album! It's almost unbelivable that Eivin One Pedersen had just turned 26 at the time of recording, what an incredible talent he was! Also note his use of the organ on this date, not an instrument much used in free jazz, but to great effect here, also doing the "missing" bass parts. John Stevens is also great on this recording, quite different from what we're used to with the SME, more "open" possibly? It's been said that his playing with Gjerstad brought out other qualities in him, and we wouldn't argue about that. Gjerstad is, as always, himself. At a time when most Norwegian sax players wanted to be Jan Garbarek, Gjerstad followed his own nose. In that respect there are no obvious references to other sax players. In our ears he is one of the giants still active on the international scene. Frode Gjerstad: Saxophones, bass clarinet and alto flute John Stevens: Drums Eivin One Pedersen: Piano and keyboards Tracks: This Is The, First Version, Of Detail Record Label: Rune Grammofon Style: Jazz

Norwegian jazz is as vital as ever and one can but wonder where it all comes from. With Night Owl, their second album for Rune Grammofon, Eyolf Dale (29) and André Roligheten (29) are already five albums into their career and showing a maturity in writing and playing that is betraying their age considerably. Their previous album, Tree House with Trondheim Jazz Orchestra, also showed that they can write for a large ensemble, this being a commissioned work from Molde International Jazz Festival in 2013. Night Owl was recorded at Fattoria Musica in rural Osnabrück, Germany, a studio that has hosted many famous musicians and is known for its top quality equipment and ambiance. The music can be described as contemporary jazz with threads to both American and European traditions - highly original, structured compositions paired with improvisation; playful and melodic, modern and accessible. Eyolf and André met at school in the small town of Skien and have played together since the age of seventeen. The duo formally started in 2006, followed by rehearsals and concerts. They won the annual JazzIntro prize at Molde Int. Jazz Festival in 2008 and the best band category at the European Jazz Competition at the North Sea Jazz in 2009, with jury leader Maria Schneider commenting most original, great interplay and amazing improvisation, effective and colourful compositions. The same year also saw the release of their debut album Seagull Island followed by Mystery Orchestra with Grenager & Tafjord (2010), both receiving great reviews, the latter named best Norwegian jazz record of the year in national paper Dagsavisen. Grenager and Tafjord are both founder members of SPUNK, the all female impro quartet that has released eight albums on Rune Grammofon Record Label: Rune Grammofon Style: Jazz

Helge Sten: audio virus, electronics Ståle Storlokken: keyboards, electronics Arve Henriksen: trumpet, electronics The mighty SUPERSILENT return with a brand new record, their first in four years. Recorded during three different sessions back in 2011, Supersilent 12 is produced by DEATHPROD from hours of recordings at his own Audio Virus LAB, Athletic Sound in Halden and the Emanuel Vigeland museum, known for its 20 second natural reverb. Since the very beginning Supersilent have always moved forward with the greatest integrity. SUPERSILENT music is collective work, total group improvising, and not a matter of individual grandstanding. They never rehearse as a group and don't discuss the music with each other, meeting only to play concerts or to record. Every recording and every concert is a unique occasion, not to be repeated, and their music lives in a no-man's-land between the genres, somewhere between avant garde free jazz, rock, electronica and modern composition. It can sometimes appear to be written or at least arranged, again making it clear that these musicians communicate on a high, almost telepatic level. Supersilent 12 brings furher evidence to the above. Known as being heavy on electronics, this time they have moved further towards the avant garde territory populated by Deathprod and current Arve Henriksen releases Chron and Cosmic Creation. It features some of their darkest and most eerie soundscapes, but there's still room for Henriksen's lyrical trumpet Record Label: Rune Grammofon Style: Avantgarde

Artist: Fire Orchestra Label: Rune Grammofon

Artist: Fire Orchestra Label: Rune Grammofon

Together with drummer Ivar Loe Bjornstad and bassist Ellen Brekken, and recording with an eight-track tape machine, her Trio turn the full force of heavy rock and electric jazz to demonic purposes. It can be sledgehammer sludge, stoned to a crawl as on "Arigato, Bitch'. Or it's nimble as a phantom on astapopoulos', a dizzying churn that's named after the archvillain of Hergé's Tintin cartoons. And for the Mollestad Trio at its intuitive, ESP-connected finest, check "Liquid Bridges'. "Laughing John" gestures towards the great Mahavishnu Orchestra guitarist as well as a music teacher, named Jon, who heavily influenced Hedvig's development. The album's fine balance between looseness and control follows a year of world touring, and tracks reflect such odd venues as "La Boule Noire', a former Portuguese disco in Paris whose walls are studded with bullets from a gangland shootout. Enfant Terrible follows the Trio's previous Rune Grammofon releases, the Spellemann (Norwegian Grammy) nominated All Of Them Witches (2013) and Shoot! (2011) and, like labelmates Bushman's Revenge, Elephant9 and Grand General, represent a thrilling new progressive wave of Norwegian avant rock/free metal energy. Don't be fooled by the deceptively innocent portrait of Hedvig herself on the front cover - a rare example of designer Kim Hiorthoy working with classic black and white photography, and an unusual departure from Rune Grammofon's familiar digipacks Style: Prog Rock

Artist: Hedvig Mollestad Trio Label: Rune Grammofon (Cargo Records)

Shining have gone through a radical transition after starting out as a postbop jazz quartet before ending up as the uncompromising "blackjazz" metalband we know today, all under the determined leadership of composer and multi-instrumentalist Jorgen Munkeby. Shining have gone through a number of members since the first album back in 2001, the only mainstay to this day apart from Munkeby being drummer Torstein Lofthus (also of Elephant9). This 2CD release collects the two albums they did for Rune Grammofon, In The Kingdom Of Kitsch You Will Be A Monster (2005) og Grindstone (2007). They very much represent a period of transition and are considered their most original and musically exciting albums, where they freely move between complex riffing, free jazz, filmic soundscapes and modern composition, with references to everything from The Mars Volta and Slayer via King Crimson and Mahavishnu Orchestra to Henry Cow, This Heat, Ornette Coleman, Ligeti and Messiaen. Style: Jazz