We continue our alphabetical exploration of the Norwegian jazz scene, which started by chance but continues with plodding, mind-numbing deliberateness.
But if you’re just joining us, don’t fall asleep just yet! We are on percussionists and the letter H, which turns out to be an embarrassment of riches: a whole lot of drummers, and a whole lot of T’Oobs for audio support!
Our first two subjects are drummers named “Ole,” Ole Hamre (born 1959) and Ole Jacob Hansen (born 1940). “Ole” could refer to their relatively advanced age, to bullfighting, to rousing soccer cheers, or maybe something completely different. Post your suggestions below, but let’s move on to T’Oob support.
On our first T’Oob, Ole Hamre lays down the beat for the Norwegian folk songs “Fanteladda” and “Vesle Kari Rud,” on Norwegian TV in 1998. I have to assume black and white is for retro effect since color was available in 1998 (as far as I remember).
Ole plays with Gabriel Fliflet on vocals and accordeon (the anachronestic spelleng is deliberete). The gents are assisted by their Danish pal Peter Bastian operating the accordeon’s wah-wah pedal.
Next, Ole Jacob Hansen (born 1940) goes full classic jazz standard with “Body and Soul,” supporting the immortal Coleman Hawkins on sax, Einar Iversen on piano, and Jarle Krogstad on bass.
Moving on but staying in the hard bop tradition, Trond Sverre Hansen (born 1964) offers fine ensemble work here in Alf Kjellman’s “Central European Time,” from his album Feather, But No Wings (2008). Alf is on Sax, Konrad Kaspersen on bass, Trond on drums, Kurt Samuelsen on piano, and Øystein Blix on trombone.
Jakop Janssønn Hauan (born 1986) drums with the group Ánnásuolo as they perform “Duoddariinnai Ija Bealit“a jazz inflected version of the Scandinavia folk music known as Sami, with Marianne Pentha (vocals), John-Kåre Hansen (guitar), Eirik Fjelde (keyboard), and Svein Schultz (bass).
Pressing up against the Official BoFN Word Limit(TM), we offer the rest of our artists with minimal commentary. Tor Haugerud (born 1962) drums with Tone Åse (vocals), Ståle Storløkken (synths), and Hans Magnus “Snah” Ryan (guitars).
Pål Hausken (1980) puts down the rhythm for “Impatience” by Randi Tytingvåg, with Tytingvåg on vocals, and Ivar Grydeland and Jo Berger Myrhe playing various guitars, banjo, keyboards and syntehsizer.
Per Hillestad (born 1959) rolls and thunders through a drum solo.
Wetle Holte (born 1973) throws down the beat for Weaving on “Golden Child,” with Kirsti Huke (vocals, omnichord), Gunnar Halle (trumpet and synth), and Erik Nylander (also on drums).
Martin Horntveth (born 1977) drums it up for Jaga Jazzist on “Oban” from the album Starfire (2015). Martin co-leads the band with his brother Lars.
Hans Hulbækmo (1989) offers percussive stylings for Hanna Paulsberg Concept on “Catalan Boy” from the album Eastern Smiles (2015), with Hanna (sax, composition), Oscar Grönberg (piano) and Trygve Fiske (bass).
Available on Odin Records here.
‘plodding, mind-numbing deliberateness’ – how much i love this descriptor. i wouldn’t describe your series that way, though i can’t wait to use that phrase somewhere.
Thanks, ksbeth! By the time we get to O and P you might change your mind about the plodding, mind-numbing deliberateness of it all . . .
This lady has had no sleep and consequently offers no quips today. The Coleman Hawkins video looks like something it would be fun to step back in time and see. I can’t even process this word, Duoddariinnai, but I’m sure it’s related to my duodenum. The voice is quite haunting. The last one reminds me of the music they play on Netflix when Jerry Seinfeld drinks coffee at diners. Who knew they were such a jazzy peøples? You should do your Master’s thesis on Norwegian jazz drummers. Ole!
Spoken like a true Kerbey type person! This means you listened to all (or most) of the T’Oobs. If it makes you feel any better, I had to look up duodendum.
I don’t believe that for a second, smarty pants. T’Oobs makes me think of Homer Simpson’s D’oh! And if that doesn’t take it down to the lowest denominator, I don’t know what does.
Some of us think of Homer Simpson as the sage of the current age, and that “D’oh!” rises to the level of “I think therefore I am.” Or maybe, I don’t think much, therefore I am . . . Or something.
I worked out a Near Eastern (or, if you prefer, a Frank Herbert Dune style) mythology about T’Oobs, mostly in comment threads with Liz. I won’t say I worked it out completely mind you, but anyway, so far, “T’oobs” is a shortened form of Teh Vidz of Yoot Oob, taken from The Book of T’Oob, which was hidden wisdom discovered on ancient Platypus scrolls.
This was because Liz wrote “Toobs” (no comma, no uppercase “O”) and it just didn’t seem right, somehow.
Let me be the second to say, I love the phrase ‘plodding, mind-numbing deliberateness,’ and cannot wait to use it in a sentence.
Since it’s Monday, my mind is deliberately plodding and numb, so I don’t have an alternate form of use for ‘Ole’. I’m going to let it percolate and see if any ideas arrive by Wednesday.
I must say my favorite name of this line-up is Trygve Fiske.
Thanks, Fannie! I think it’s your favorite because it was last. There’s only so much plodding, mind-numbing deliberateness to endure in one post!
Trygve reminds me of trigonometry, which was a bit of a mystery to me without a calculator. Fiske makes me think of lutefisk which I actually enjoy eating. Put the two together and I can calculate the cosign of eating my meal and getting the dishes clean afterwards . . . which was a bit of a bugger if I waited too long. 🙂
I think you’ve been hanging around Kerbey too long.
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