article
in Moss Avis, Thursday June 2. 1994
| Translated by Dag Sirnes: Duke and Domnerus Tuesday's concert in Moss church ended with Duke Ellington, the composer who more than anyone else has shaped Arne Domnerus as a church musician. The saxophone solo in "Almighty God" alone was worth the ticket price. It became for me the highlight of the department with music from Ellington's ''sacred concerts''. Østfold Trio started with '' Hymn to the Republic ''. Kåre Vestrheim began with a piano solo where the entire register was used and with chords so "tight" that it was a joy. Ingar Guttormsen on bass and Håkon Paulsberg on drums came, the intensity increased, and in the end it was difficult to sit still on the church pews. No wonder it was "Brown Brown's Body" the northern state soldiers marched to in the American Civil War. The Civil War concerned several matters. One of them was the question of slavery. If "Tom Brown's Body" was a battle song for the Yankees, it was just as much a freedom song for the blacks. Therefore, it seemed very logical when the musicians continued with Oscar Peterson's ''Hymn to Freedom'', now with Domnerus on the team. Arne Domnerus is a fantastic musician, whether he plays saxophone or clarinet. He improvises seemingly completely effortlessly, and in such a way that the melody line is never lost. He can afford to play simply, without a superfluous tone, when it is natural. In other contexts, he uses his enormous technique in races and forwards that make the music new and exciting. Underneath it all lies the "swing" itself, which for many of us is the hallmark of jazz. There is also reason to give Østfold Trio all possible credit. Vestrheim impressed as a pianist. The solo in "Hymn to the Republic" has already been mentioned. Another highlight was the conclusion of Nils Ferlin's "Not even a gray little bird", where clarinet and piano fused in an incredibly beautiful synthesis. Vestrheim also played some of the songs on his digital synthesizer, with organ sounds that created a suggestive effect. Guttormsen and Paulsberg fit nicely into the whole, both in the interaction and with several good individual performances. They thereby confirmed the impression that Norwegian jazz musicians maintain a very high level. The greatest curiosity was probably related to the vocalist, Silje Nergaard. She seemed a little hesitant, almost a little anxious, at first. Nevertheless, the seemingly young voice carried the message in hymns such as "The Church is an old house" in a breathtaking way. She made the audience really listen. In two religious folk tunes, the events were exquisite, not least in ''Mitt hjerte vanker'' (My heart wanders), where voice and instruments gradually built up to a dynamic climax, and then calmed it all down again. After singing in Norwegian and Swedish, Silje Nergaard switched to English-language songs. Here she showed a much larger, dynamic register and sang with proper "punch". Ellington's "Almighty God" was sung unusually fast, but absolutely convincing. All in all, Silje Nergaard made a very nice impression. She wants something with the music and has a distinctive charisma. Her sense of rhythm is at its peak, and her voice has significant resources when she lets go. Erik F. Steen (text) Jon-Ivar Fjeld (photo) Small picture: Silje Nergaard made a very sympathetic impression. Big picture: The saxophone solo by Arne Domnerus in "Almighty God" was alone worth the ticket price. |
article in Sarpsborg Arbeiderblad, Wednesday June 1. 1994
Translated by Dag Sirnes:
Intoxicating Domnerus
Arne Domnerus is a great artist on saxophone and clarinet, something he proved emphatically in Moss church last night. With his sucking jazz, he knows the art of intoxicating his audience. Too bad so few were present and could enjoy it.
The organizers from Gleng Music Festival will be responsible for this. The advance information for the concert in Moss was simply very weak. Still, 73 paying spectators showed up - and got a lot of music for the money.
Domnerus brought with him the Norwegian artist Silje Nergaard as a singing soloist. Østfold Trio with Kåre Vestrheim (piano / organ), Ingar Guttormsen (bass) and Håkon Paulsberg (drums) provided the accompaniment. Everyone performed together for the first time - in Moss church. You would not believe that. Not least the instrumental interaction worked perfectly. Silje Nergaard's slightly hoarse, soft voice filled the harmony.
Domnerus is a big fan of Duke Ellington's music, which was also reflected in the concert. The main emphasis was on Ellington's church music and other religious folk tunes. It all started with "Hymn to freedom" and continued with hymns like ''Kjærleik'' and ''Kirken den er et gammelt hus''. All liberatingly jazzed up.
Domnerus is a Swedish jazz artist and of course did not get past Jan Johansson, one of our neighboring country's great jazz composers. Well-known, mysteriously beautiful "Visa från Utanmyra" was performed with glow and longing.
Domnerus had also chosen another Swedish artist's work, Nils Ferlin's poem ''Inte ens en grå liten fågel''. It was set to music by him and the Østfold Trio and read by Silje. Then followed "Värmlandsvisan" before the Swedish was left a bit in favor of more American again.
For anyone who missed Domnerus' intoxicating tones in Moss, there are several possibilities. Tonight he performs in Fredrikstad, and tomorrow it's Sarpsborg's turn.
Merete Kildahl
Gleng Musikkfestival
Concert
Arne Domnerus
Silje Nergaard and
Østfold Trio
Moss church
73 listeners
Photo by Silje: Silje Nergaard warmed a small audience in Moss church with her hoarse, soft voice last night. (Photo: John T. Pedersen)
Photo by Domnerus: Arne Domnerus knows the art of intoxication with his sucking jazz tones on saxophone and clarinet.
