Disse artistene spiller på Moldejazz nr. 60

With Norway's jazz queen from Revehallen to Plassen.

The first concert with her own band in the festival week is the Karin Krog trio. Besides her, it consists of bassist Terje Gewelt and guitarist Staffan William-Olsson. Krog herself is described as Norwegian jazz's undisputed first lady, and the country's hippest grandmother. Although she's passed 80, her voice is still full of shy and youthful excitement. With incomparable timing and a varied repertoire from several parts of jazz history, she delivers playful concerts that bring smiles to both new and old friends of her music.

This year's, the trio has a special focus on vocalese - lyrics of improvised solos. An example is the classic «Moody's Mood for Love», which Krog sang at her very first Moldejazz concert in 1961. Additionally, we'll hear a snippet of Joni Mitchell's repertoire and newer compositions by Krog / John Surman. As Krog herself says: «This music will swing, and it does so with the good help of the excellent Terje and Staffan!»

Karin Krog has a very special place in Moldejazz history through the 1969 recording of what must be called the Molde festival's «national anthem», Break of Day in Molde. The description, with text by Johs Bergh to Carla Bley's tune, of the morning mood in nature after nightly jam sessions at Vardestua has become a true classic.

Karin Krog – vocals, Staffan William-Olsson – guitar, Terje Gewelt – bass.

The anniversary concert with Arild Andersen Group, supplemented by Karin Krog, will open this year's Moldejazz.

Krog also sang at the first-ever jazz festival in Molde in 1961 – in front of a packed Revehall, and with Kjell Karlsen's orchestra. She's since visited Molde many times. At the anniversary concert, the audience will get to listen to some of what she sang in Revehallen 59 years ago.

Already on Krog's recording of Break of Day in Molde from 1969, Arild Andersen played bass, and over the years he's done nearly 50 concerts in the city. In almost 60 years, nobody has played Moldejazz more than him. Many of the concerts stand as milestones in Moldejazz history.

If anyone can be called a supergroup in Norwegian jazz, it must be the band Arild Andersen is joining this year. A virtuoso and expressive saxophonist about to lay the world at his feet, the piano jazz' greatest lyricist and a bass/drum duo that oozes sophisticated elegance, imagination and punch. Supergroups don't get any better than this. Panegyric reviews like these are for once in their rightful place:

«What a quartet! Marius Neset is already a superstar […] and Arild Andersen – the godfather of Norwegian Jazz […] is leading the band through the most beautiful ballads and the wildest hurricanes.»
– Nils Kvamsdal, Hordaland

«But tonight we are one, united around Arild Andersen's music, performed by a quartet that sets fire and flame in the music, through the music, out of the music.»
– Johan Hauknes, Salt Peanuts

This is truly an anniversary concert to look forward to. Fabulous performers serve a selection of tunes from different eras in the history of the festival and musicians, bound together by Arild Andersen's comments.

It will be a night for the books – both for people who have followed the festival since its inception and for those who have come to later.

Arild Andersen – bass, Marius Neset – saxophone, Helge Lien – piano, Håkon Mjåset Johansen – drums, Karin Krog – vocals.

Genre blind Beethoven from Arve Tellefsen to Frode Alnæs in Molde Cathedral.

When Tellefsen and Bjerkestrand presented Breaking Bach a couple of years ago, a critic wrote that Johann Sebastian was rotating in his grave as he snapped his fingers and trampled the beat. When the two now has produced a performance in which they present Beethoven's music in a partially new costume at Moldejazz's closing concert, it is also about playfulness and seriousness going into a higher unity. Some of Beethoven's most well-known (perhaps also unknown?) works are played both in original versions and in an improvised and arranged form. It may be both to and from Elise, and by moonlight, it may this time grow something exciting.

There is a lot of sparkling material to grasp – the 5th symphony is probably one of the world's most famous pieces of music. Beethoven composes a theme, and after only 4 notes, our entire civilization recognises the music. That is genius!

This will be a revered tribute to Ludwig van Beethoven.

Arve Tellefsen – violin, Frida Fredrikke Waaler Wærvågen – cello, Jie Zhang – grand piano, Håkon Kornstad – saxophone/vocals, Ellen Andrea Wang – double bass/vocals, Rune Arnesen – percussion, Frode Alnæs – guitar, Kjetil Bjerkestrand – keys.

Creative Karin Krog presents a new and exciting performance when she, together with John Surman and his Valhall Quartet, discuss Thelonious Monk's wonderful music.

In the evening, April 15 1966, Krog sat with Thelonious Monk in the living room at Continental in Oslo. He was interviewed by journalist Randi Hultin after playing a legendary concert in the University's Assembly Hall. Krog then promised herself that one day she would sing some of the songs she had heard that night.

More than 50 years have passed since then, but now the time has finally come. It's a pleasure to confirm that Krog and this band are finally ready to present "Tea with Thelonious" - a collection of Karin Krog's own Monk favourites in new arrangements by John Surman for the Valhalla Quartet and Karin herself.

Pianist and bandleader, Thelonious Monk, is one of jazz's foremost composers of all time. He wrote distinctive themes that have become standard repertoire. Generations later, his music still appears as fresh and challenging and is played by musicians of all ages. Moldejazz is proud to present the premiere of the unique combination Krog / Surman / Monk.

KARIN KROG WITH JOHN SURMAN'S VALHALLA QUARTET
Karin Krog - vocals, John Surman - saxophone/arr, Erlend Slettevold - piano, Terje Gewelt - bass, Tom Olstad - drums.

Premiere on new music and new band

Solveig has fallen in love with the idea of creating a new jazz band for a long time. Now, she's gathered her dream team of musicians. Andreas Ulvo on piano (Eple trio, Mathias Eick band), Trygve Waldemar Fiske on bass (Hanna Paulsberg Concept, Waldemar 4), Pål Hausken on drums (In the Country, Trail of Souls) and of course Solveig herself on vocals, and occasionally also piano.

The band works with songs from the jazz tradition as well as Solveig's self-composed songs. The expression is characterised by the individual's musical presence and signature, but also by various references to the jazz tradition.

They've spent hours in a basement on Grünerløkka and in a Snekkerbu in Hedemark. During the autumn and winter, they've spent the time finding their sound. The record's Solveig's 14th album since her debut with Slow Motion Orchestra in 2001. It's planned released in September and the band's excited for the concert premiere at Moldejazz.

Henning Sommerro with a theatre concert celebrating Hans Hyldbakk – and the peace.

Hyldbakk wrote Vårsøg in 1945 and this year the poem celebrates its 75th anniversary. The text expresses the joy of spring – and for the liberation that was coming.

Moldejazz has a long collaboration with local theatre, Teatret Vårt. The theatre concert where Sommerro together with John Pål Inderberg, Julie Støp Husby and Sara Fellman is, therefore, a particularly polite celebration of both jazz, theatre and the down-to-earth hope of a bright future.

The group Vårsøg, lead by Sommerro, recorded their debut album in 1977 with perhaps the most famous version of the poem, with Sommerro's melody. The group had its last concert at the legendary Naustet Vårt [en: Boathouse] during Moldejazz in 1980. Henning Sommerro has had several collaborations with Hyldbakk. For the theatre concert, he has tailor-made new arrangements of his own tunes and, based on Vårsøg, has taken a new look at Hyldbakk's lyrics.

Hans Hyldbakk himself wrote in «Vårbrev 1945» [en: «Spring Letter 1945»] that he had great hope for the spring:

«...this year faith and hope are greater and richer than ever before because now spring promises more than in a long time, (...) It seems that summer is coming with the peace in its arms, which we have been longing for. All indications are that it cannot be long before the war is over.»

Texts: Hans Hyldbakk, Music: Henning Sommerro, Director: Kristian Lykkeslet Strømskag, Text selection: Svein Sæter, Dramatic adviser: Julie Støp Husby
Contributors: Henning Sommerro, John Pål Inderberg, Sara Fellman, Julie Støp Husby

Classical acoustic jazz for jazz connoisseurs.

Here are three vital veterans, Spellemann-winners and band leaders who still have excess energy. These musicians know Krog's music to the bone, and together they convey standard songs at the level they deserve. Storaas, Alterhaug and Olstad move in close interaction that can almost be described as progressive classical jazz. In this room, Karin Krog appears as cool as can be.

In the flood of talented young pianists who constantly emerge on the Norwegian jazz scene, it's easy to forget that Storaas has been a musician of international quality for years. Witnessing Storaas is a rare opportunity and it's can almost be considered an event every time he shows his skills on the 88 keys.

The warmth, playfulness, joy of playing and the songs this band convey are both a history lesson and a living proof of the unwavering willingness to create new music together and bring jazz forward. As with good wine, The Meantimes only gets better over time, in a classic jazz repertoire many people have a relationship with. When The Meantimes, on this occasion, is also visited by John Surman, there is every reason to look forward to a brilliant evening.

Karin Krog - vocals, Vigleik Storaas - piano, Bjørn Alterhaug - bass, Tom Olstad - drums. Guest: John Surman - saxophones.

The first premiere in the time of the Corona.

As a jazz graduate of NTNU in Trondheim, he shocked the Norwegian jazz scene with the band «Urban Connection» which took the concept of jazz trios to new heights. In recent years, Raknes has steadily moved more towards the singer/songwriter segment. The Stillhouse concept, which is really a duo project with Unni Wilhelmsen, was extended with Per Oddvar Johansen on drums, Even Hermansen on guitar and Jørgen Mathisen on clarinet, soprano and tenor sax.

He's brought us along on wonderful journeys into his musical universe where his voice and double bass are the main elements. As a singer, he's developed a deep, lovely baritone and in his beautiful songs his voice really stands out.

Raknes has a nose for melodies, delicate lyrics and uses a simple yet harmonious language in his songs. However, interacting with creative musicians like Hermansen, the music takes a whole other turn. The sound shifts to a completely different colour and contributions from Mathisen take the music in surprising directions. When you also have one of the country's most responsive and creative drummers in the band, the soundscape is complete.

Witnessing the interaction between Unni and Steinar is truly wonderful. They've worked a lot together in the past and complement each other's voices and expressions. Raknes' music is in an open genre landscape with a touch of Americana, country, Nick Cave, Tom Waits, and a lot of other stuff.

This summer he'll be back to present what's guaranteed to be a great experience at this year's festival. The project is a collaboration with Jazzfest in Trondheim.

Already in 2010, as Hanna Paulsberg initiated the Hanna Paulsberg Concept, everyone paying attention knew she had a great talent.

The saxophonist had a solid background from the classical mainstream jazz. She was growing her game by trying many of the contemporary expressions. Ten years have gone by and with it, four albums, several awards and tours both nationally and abroad. Activities in other contexts, such as the audience favourite Gurls, and Trondheim Jazzorkester. Even so, she still holds the original crew in the Hanna Paulsberg Concept.

There is every reason to celebrate. Not all ensembles last for ten years. This is a marker of musical development and good chemistry.

To mark the anniversary of Moldejazz, Paulsberg brings several interesting guests. Elin Rosseland has been established on the top shelf in Norwegian vocal jazz for many years. Thomas Johansson is a well renowed Norwegian trumpet player, and the groups' Benjamin, is the young pianist Håvard Aufles, a rising star.

This concert is a rare opportunity to meet seven of Scandinavia's foremost musicians. They tread in waters where jazz tradition and jazz future meet. Welcome to an evening of vital and adventurous music in an open acoustic setting.

Hanna Paulsberg – saxophones, Oscar Grönberg – keys, Trygve Waldemar Fiske – bass, Hans Hulbækmo – drums, Thomas Johansson – trumpet, Elin Rosseland – vocals, Håvard Aufles – synth.

With his strong personal expression, last years jazz fellow [no: jazZtipendiat], composer and pianist Johan Lindvall, has already made a name for himself.

With this concert, Lindvall says that he'll try to unite film and music.

– It is important to me that one doesn't suppress the other, but that there are two independent expressions, he says.

There's a lightness in both the music and the film – a similar theme consisting of repetitions and rhythmic structures. This is also repeated in both the compositions and the script. To tie it all together visually, he's joined by Jenny Berger Myhre on video and light wiz, Kyrre Heldal Karlsen.

We're looking forward to a new and original version of the Trondheim Jazzorkester on the opening day of Moldejazz' 60th anniversary!

Johan Lindvall – piano, composition, Natali Abrahamsen Garner – vocals, Ina Sagstuen – vocals, Eira Bjørnstad Foss – violin, Marianne Baudouin Lie – cello, Mette Henriette Martedatter Rølvåg – tenor saxophone, Klaus Ellerhusen Holm – clarinets, Lars Ove Stene Fossheim – guitar, Christian Winther – guitar, Matilda Rolfsson – percussion, Kyrre Laastad – vibraphone and electronics, Andreas Winther – drums, Tor Breivik – sound design, Kyrre Heldal Karlsen – lighting design, Jenny Berger Myhre – video.

In this music, life takes place in the nightclubs. It's high-energy, modern-day RnB with a good dose of LA coolness.

Natalie Sandtorv has gone from young and promising to a full-blooded artist and she has spent her time well. There have been many sunsets since the debut album Freedom Nation in 2017. The Neon Ion-project has taken shape on tours in Europe and during writing stays in Los Angeles, Italy and Berlin.

The album Heart Echoes, released on May 8, has been received with ovations. It was mentioned, among other things, by Audun Vinger on a double page in Dagens Næringsliv: «Neon Ions Heart Echoes expands the field of modern Norwegian pop music [...] Natalie Sandtorv impresses as Neon Ion, which will stand as a highlight from the Norwegian pop year 2020».

The album was released on Jazzland Recordings, where Sandtorv brought with her the fearless producer, Erlend Mokkelbost. More than a year in the studio has resulted in an energy bomb of an album, packed with both close and upbeat songs. It is a soundscape that immediately catches the attention of the listener. The vocalist has garnered fantastic reviews for her live performance and has been nominated by several international media such as «one to watch», including NME, The Line Of Best Fit, and Gaffa.

The band consists of musicians that have been touring with artists such as Sigrid, Rohey and Mosambique.

Natalie Sandtorv - vocals, Martin Vinje - synth, vocals, Karoline Wallace - vocals, Torgeir Standal - guitar, Kristian Jacobsen - bass, Henrik Lødøen - drums, Ole Mofjell - percussion.

Great work signed former resident artist at Moldejazz, Jon Balke.

The text is presented in its entirety as a kind of harmonised recitative. It's also used as a phonetics and «sound-bank» for the role of the singers in the piece. The poem is written in a semi-abstract tradition, using images to describe the role of women as a creative force throughout human history.

Komunyakaa, with his African American background, is a distinctive musical and rhythmic poet. He writes in a pulsating language that's very inspiring for composers to work with. This piece is written as a framework for the dialogue between the string ensemble and the singers. It gives creative room for Trondheim Voices and their unique abilities as improvisers and sound painters.

In the first part of the concert, we also include a «remixed» version of the previous collaboration between Balke and Trondheim Voices, On Anodyne, which premiered at Moldejazz in 2011. On Anodyne was also based on a poem by Yusef Komunyakaa, first written for percussion and vocals. This work is now presented in a new version for strings, voices and electronics and in this way provides a rich presentation of Komunyakaa's musical poetry.

Contributors:
Jon Balke – composer and electronics

Trondheim Voices:
Sissel Vera Pettersen, artistic leader, Siri Gjære, Tone Åse
Live Maria Roggen, Kari Eskild Havenstrøm, Anita Kaasbøll, Torunn Sævik, Heidi Skjerve

TrondheimSolistene:
Violins: Viktor Stenhjem, Anna Vestad, Stefan Penjin, Eira Foss, Ivan Penjin, Ola Lindseth, Åse Våg Aaknes, Anna Sonstad, Alex Robson
Viola: Anne Våg Aaknes, Bergmund Waal Skaslien, Kirsten Næss
Cello: Marit Aspås, Karoline Brevik, Live Smidt
Double bass: Rolf Hoff Baltzersen

Christian Eggen – conductor
Asle Karstad – sound design

The concert is produced in collaboration with Midtnorsk Jazzsenter and Olavsfestdagene.

This year's Break of Day-concert is set to be exciting and extraordinary.

Since their debut album, "The Second Room" in 2016, Erlend Apneseth trio has occupied the driver's seat in the well-lubricated tractor that's ploughing the ever-new ground in the folk music soil.

In a generation where traditional music's constantly weaved together ​​with other expressions, the trio – led by Harding fiddle-player Apneseth – is a guiding light. The roots of traditional music and deep storylines meet the present and future in the trio's dynamic music. They create organic and evocative arrangements of archive recordings, traditional material, atmospheric images, crackling electronics and wild, unrestrained energy that put even the hardiest fiddle bow to the test. The trio has released three albums on the Norwegian label HUBRO and has so far received nominations to two Norwegian Grammy awards.

Last year's critically acclaimed release "Salika, Molika" included accordion virtuoso, Frode Haltli, who perform frictionally between all genres. The result is their best release yet. A nuanced, colourful kaleidoscope of a record that takes you to places you've never been before.

It was recently announced that the release is nominated for the Nordic Music Prize, and we will not be surprised if it also receives a Spellemann nomination.

Prepare for a great experience on the roof at Plasen!

Molde Cathedral is a good fit for Ytre Suløens Jass-Ensemble's New Orleans-oriented music. This time the gospel music will be given extra weight.

Ytre Suløen's Jass-ensemble has had a number of legendary concerts in Molde Cathedral. Many will remember the 5 (!) sold-out concerts with Skruk in 2003. Those who remember even further back will likely remember Hallalujazz! in 1982 – also a Skruk collaboration. The last time Ytre Suløen played in the Cathedral they created magic together with Arve Henriksen during his residency in 2009. With this in mind, many wished for the chance to hear Ytre Suløen in the Cathedral once again.

The concert will offer tunes from gospel queen Mahalia Jackson's repertoire, mixed with newer compositions, including banjoist Einar Aarø's lovely «Dirge for Christian» from the band's album Eternal Now (2017). The album received good reviews and local critic, Tor Hammerø, wrote, «The band is as vital and exuberant as it's always been, but with slightly more modern impulses included than before. This is also reflected in the repertoire that carries songs from both Cannonball Adderley, Andrea Crouch and Wynton Marsalis, but also traditional gospel songs and the title song by Tricia's uncle, John Boutté, and Einar Aarø's tribute to his late partner, 'Dirge for Christian'».

Banjoist Aarø is, by the way, the only original member from the start of Ytre Suløen back in 1973.

Sturla Hauge Nilsen – trumpet, Lars Frank – clarinet/saxophone, Gunnar Bech – trombone, Einar Aarø – banjo, Morten Gunnar Larsen – piano, David Gald – tuba, Kristoffer Tokle – drums, Tricia Bouttè – vocals.

With her closeness and authority, Kari Harneshaug from Harøya is dubbed a rock-solid and unique artist.

In January, she released her fourth album Deeper/Further to excellent reviews. The album is a soulful journey between heartfelt, beautiful ballads and expressive rock songs. Audun Vinger warned the audience in his review of the record in Dagens Næringsliv, «… lyrics and melodies are performed with pronounced character and desperation. This no picnic».

She was also praised by Tor Hammerø as he confirmed that Kari Harneshaug in 2020 is both «Deeper, further and even better».

On Friday, July 17, Kari's back on stage at the festival she's grown up with. To our venue Storyville, she brings with her what she describes as the world's finest band – ready to give the audience a soulful experience.

Kari Harneshaug - vocals, Kjetil André Mulelid – keys, Lars Ove Stene Fossheim – guitar, Kyrre Laastad – bass, Andreas Winther - drums.

Composer and musician, Maja S.K. Ratkje, meet guitarist, Stian Westerhus. An intimate setting where they, among other things, play music Ratkje wrote for the production of Hamsun's "Hunger" for the National Ballet at The Norwegian Opera.

The concert's part of Moldejazz's events with and around this year's Artist in Residence, John Zorn. Zorn, as the curator, has handpicked Norwegian musicians who are then presented in 3 concerts under the label «Zorn Selected». Among them are Ratkje and Westerhus. Ratkje has been in contact with Zorn on several occasions in the past. She's released music on Zorn's record label, Tzadik, and been Artist in Residence at The Stone, a club Zorn has been running in New York for many years.

Westerhus and Ratkje are usually connected with effect pedals, samplers, amplifiers and computers. In this concert, they perform their music in an acoustic room with organ, fiddle, acoustic guitar and their voices. The expression can give associations to both 19th-century Kristiania, as well as saloons with emigrated Norwegians in the Midwest.

In the few occasions the duo has presented themselves in the past the response has been overwhelming. Critics have used terms such as "One of the decidedly strongest musical moments of the year". Along with the music from Hunger, Ratkje and Westerhus will also present newly written material.

Welcome to a captivating concert where you can lower your shoulders to the sounds of strings, bellows, old wood and squeaky pedals.

Maja S. K. Ratkje – vocals and various instruments, Stian Westerhus – guitar and vocals.

Hedvig Mollestad, one of Norway's leading guitarists, has written the work «Maternity Beat» on commission from the festival.

She's brought a star team of musicians. Violin, flute, trumpet and two female voices guarantees to show a somewhat different side of Mollestad than what we've seen before. Meanwhile, the solid rhythm section – as a crossover of Elephant9 and JUNO (!) – a foreshadowing of scary plans.

Through Maternity Beat, Mollestad seeks to convey experiences by being and having a mother. What is the mother pulse? Is it there? How does it feel? Is it the same in 2020 as it was 1000 years ago? Nevertheless, most of the issues and conflicts surrounding having ambitions – both as a mother and a touring and creative musician – have been an important part of the inspiration.

Mai Elise Solberg – vocals, Ingebjørg Loe Bjørnstad – vocals, Trine Knutsen – flute, Adrian Løseth Waade – violin, Martin Myhre Olsen – alto sax, Petter Kraft – tenor sax, Susana Santos Silva – trumpet, Hedvig Mollestad – el guitar, Ståle Storløkken – synth/organ, Georgia Wartel – bass, Torstein Lofthus – drums, Ingvald Vassbø - percussion.

Ketil Nicolaysen – sound design, Ingrid Skanke Høsøien – light design, Joffe Myrvold – video- and light design.

In their sound play and pure musical research, Moskus delivers with smiles and cries of joy.

Since the release of the debut album Salmesykkel in 2012, Moskus has made their mark as one of Norway – and Europe's – most distinctive young jazz groups. The album earned them two Spellemann nominations and an opportunity to fill the term "piano trio" with new content. Following this, there have been two new Spellemann nominations, three new albums and numerous concerts.

Last November, Moskus was one of the carefully selected bands to play during the perceptive Berlin Jazzfest. A feather in the hat for a trio that's still gaining new listeners. Pianist, Anja Lauvdal, bass player, Fredrik Luhr Dietrichson, and drummer, Hans Hulbækmo, must be described as three of their generation's foremost musicians. Also outside the trio, they've made their mark with numerous profiled projects: Broen, Skadedyr, Trondheim Jazzorkester, Morgonrod, Steamdome and Atomic.

In the summer of 2020, the band – initiated at Jazzlinja in Trondheim – will celebrate 10 years. This coincidence makes it extra pleasing to present them to our audience during the festival's own anniversary year.

Mokus is a band that never lets its musical expression solidify into conventional forms. They are assertive and continues to work towards ever-changing perspectives and oases of sound. They combine youthful energy, openness and maturity in an unusual and personal way.

Mokus' sound play and musical basic research are delivered with smiles and cheers, and not with wrinkled brows under the cover of dark clouds. Expect the unexpected.

Anja Lauvdal – piano, Fredrik Luhr Dietrichson – bass, Hans Hulbækmo – drums.

Usually, Moldejazz hosts the finals of the Jazz intro. Due to the current Corona situation, all festivals that should've run semi-finals have been cancelled. The solution is that Moldejazz hosts the first semi-final and that with two great bands, Kongle Trio and Chuck People.

The members of the jazz quartet Chuck People met through their jazz studies in Trondheim just over three years ago. They're all established on the young Norwegian jazz scene. The quartet plays self-composed music based on American jazz from the 50s and 60s. They've found great inspiration by the great saxophone heroes Joe Henderson, Sonny Rollins and John Coltrane.

Erlend Vangen Kongtorp – saxophone, Hogne Kristoffer Kleiberg (Trondheim) – piano, Alf Svendsen Høines – double bass, Martin Heggli Mellem (Lier) – drums.

Usually, Moldejazz hosts the finals of the Jazz intro. Due to the current Corona situation, all festivals that should've run semi-finals have been cancelled. The solution is that Moldejazz hosts the first semi-final and that with two great bands, Kongle Trio and Chuck People.

The Kongle trio arose in the spring of 2019 in Oslo. Immediately they found great pleasure in playing and almost tangible chemistry.

Their musical expression has a strong focus on freedom, improvisation and the identity and personality of the musicians. They wish to explore free improvisation and the impulses that arise in the interaction, and how to use non-traditional structures, grooves and soundscapes. Some of the songs have clear structures. Others are very free and follow completely different musical frameworks. The music is largely inspired by non-traditional Norwegian piano trios, such as Svein Finnerud trio, Close Erase, Maria Kannegaard trio and Moskus.

Liv Andrea Hauge (Mosjøen) – piano, Øystein Skjelstad Østensen (Kongsberg) – double bass, Veslemøy Narvesen (Kristiansand) – drums.

Brothers Lauritz and Isach Skeidsvoll have grown up with Moldejazz and we've heard them in bands such as No Name, Columbic and Bech & Skeidsvoll New Orleans Band. At the anniversary festival, you get to hear them in an exciting new duo format.

Lauritz and Isach Skeidsvoll have played together almost their whole lives. These days you'll find them together in the band Bear Brother, or individually in bands like Master Oogway and General Post Office.

In this duo format, they explore free improvisation in different landscapes and challenge each other's musical comfort zones.

In May 2020, they released their first duo album «Spirit without fire within» on their own record label, Shessvell Records.