Tetsuo Sakurai – Talking Bass (2012)

FrontCover1Tetsuo Sakurai (櫻井(桜井) 哲夫 Sakurai Tetsuo, born 13 November 1957) is a Japanese bassist. To date, he has released a total of 37 albums as a member of Casiopea and Jimsaku and solo artist, and has also made 3 bass instructional videos.

Tetsuo Sakurai started playing bass when he was 13 years old.

In 1976, Sakurai, with Issei Noro, founded jazz fusion band Casiopea. He released 19 albums while in Casiopea but later left the band with Akira Jimbo in 1989 over musical differences. Both of them then went on to form a new jazz fusion supergroup, Jimsaku. Jimsaku was active for nine years, until 1998, when it was disbanded and both Sakurai and Jimbo went on to pursue individual solo careers.

Sakurai’s third solo album TLM20, released in 2000, was recorded live in a concert with Casiopea members Issei Noro and Minoru Mukaiya, Akira Jimbo, and Kazuki Katsuta of Dimension. The fourth solo album Gentle Hearts, released in 2001, was recorded with Greg Howe & Dennis Chambers. The fifth solo album Cartas do Brasil was released in 2003 and was a vocal ballad cover album recorded in Rio de Janeiro with Djavan, Ivan Lins, Rosa Passos and other artists.[who?] In 2004, Tetsuo toured with Greg & Dennis. The following year, the tour live performances was released on DVD titled Gentle Hearts Tour 2004.


Sakurai is currently composing and playing his own music as a solo artist with domestic and foreign musicians. (by wikipedia)

A new solo album by Japanese famous bassist Tetsuo Sakurai released on this summer in Japan.
This album contains 10 musics; 8 cover songs (Beatles, Stevie Wonder, Micheal Jackson,
Jaco Pastorius, and so on.) and 2 self-cover musics.
And Marcus Miller plays on “Butterfly” for guest!

These musics are slow and medium tempo arranged -Jazz, standard, pops and ballade.
Moreover, he plays Warwick Infinity 5 strings as main bass; Fodera 5 strings, Fodera
Emperor II 6 strings fletless and Fender Jazz Bass Jaco Pastorious tribute model.
And he plays guitar and sings some songs.


Many genres of music harmonized on his bass-play, and appears his humanity.
In this album base melody sing like talking as beautifully as lead instrument.
It’s a heartwarming, gently and sweet album.
Hope to listened by his fan all around the world.

Songs List;
01. The Long And Winding Road (John Lennon & Paul McCartney)
– Beatles song cover plays fletless bass
02. Donna Lee (Charlie Parker)
– Charles Parker music cover like Jaco Pastorious bass play
03. Butterfly (Herbie Hancock)
– Herbie Hancock music cover play with Marcus Miller
04. Sunflower (Henry Mancini)
– “Sunflower” movie track by Henry Mancini plays fletless bass
05. I Wish (Stevie Wonder)
– Stevie Wonder song cover plays 8 tracks bass
06. I Can’t Help It (Susaye Greene / Stevie Wonder)
– Micheal Jackson song cover with his vocal and guitar
07. Sailing Alone (Tetsuo Sakurai)
– Tetsuo Sakurai self-coverd plays one bass
08. Alisa (Tetsuo Sakurai)
– Tetsuo Sakurai self-covered plays bass and guitar
09. Stardust (Hoagy Carmichael)
– American standard song cover solo bass play
10. Miagete Goran Yoru No Hoshi Wo (Rokusuke Ei / Taku Izumi)
– Japanese song cover with his vocal (by Kanako Takizawa)


Tetsuo Sakurai (bass, guitar, vocal, programmin
Imaizumi Taiki (keyboards)
Marcus Miller (bass on 03.)

01. The Long And Winding Road (Lennon/McCartney) 4.08
02. Donna Lee (Parker) 3.07
03. Butterfly (Hancock) 5.54
04. Sunflower (Mancini) 3.56
05. I Wish (Wonder) 3.34
06. I Can’t Help It (Greene/Wonder) 4.07
07. Sailing Alone (櫻井哲夫)(Sakurai) 4.22
08. Alisa (櫻井哲夫)(Sakurai) 4.40
09. Stardust (Carmichael) 2.39
10. Miagete Goran Yoru No Hoshi Wo 見上げてごらん夜の星を (永六輔/いずみたく)(Ei/Izumi) 4.49




Dion (DiMucci) – Tank Full Of Blues (2012)

FrontCover1When Dion DiMucci was nominated for a Grammy in the Best Traditional Blues category for 2006’s Bronx in Blue, an excellent collection of blues standards, it was an official affirmation that he was “back.” In truth, he’d never left, and had been recording all along. He issued a stellar follow-up in 2007’s Son of Skip James, a collection of revelatory blues covers and fine new material. The third album in this blues trilogy is Tank Full of Blues. Recorded in a trio setting, Dion produced the album, wrote all but two selections, and played the hell out of all the guitars on it. Tank Full of Blues is a slippery, street-smart, utterly inspired album of blues and roots rock tunes that are free of nostalgia and drenched in history. Truth be told, any of the current era’s bluesmen would be hard pressed to come up with lyrics near as profound as those found the in the harrowing “Ride’s Blues (For Robert Johnson).” The track offers a new myth about the great bluesman; it delves deep into spiritual matters while addressing the terror that lies in the heart of anyone lost to her or himself.

There’s a redemptive twist that’s as surprising as it is free of cliches. The meld of acoustic and distorted snarling electric guitars tells its own story — the story of the blues itself — to underscore the narrative. The title track, offered in swaggering Chicago blues style, offers a familiar and bitingly humorous tale of the life of an itinerant musician to be Dion01sure, but in a larger sense, also speaks to the conflicted nature of the human heart. “Two Trains” is a beautifully executed medley of Muddy Waters’ “Still a Fool” and Johnson’s “Ramblin’ on My Mind.” “My Michelle” pays tribute to Jimmy Reed’s enduring musical influence and sense of humor.

The strutting, updated rockabilly in “I’m Ready to Go” lays out Dion’s sense of purpose in this world and the next. Finally, in “Bronx Poem,” a spoken word piece that closes the disc, Dion speaks the unvarnished truth about where he’s been and, perhaps even more bravely in this cynical age, where he stands — without flinching. He possesses a rhyme skill set that would make any rapper jealous. Accompanied by his own haunting guitars and Robert Guertin’s quietly shuffling drums, Dion celebrates humanity in the light of his spiritual convictions. In doing so, he comes full circle to meet himself as a street corner poet in the 1950s, and reveals his wisdom as the result of his experiences in the past and the present. He has no need to romanticize or apologize; he remains the keen-eyed, tender-hearted observer he has always been. Tank Full of Blues may be the late entry in a catalog of great work by Dion, but it stands with his best recordings. In fact, it is the album he’s been waiting an entire career to make. (by Thom Jurek)


Dion DiMucci(guitar, vocals)
Bob Guertin (bass)
Robert “The Hurty Gurty Man” Guertin (drums, percussion)


01. Tank Full Of Blues (Aquilina/DiMucci) Dion 4:14
02 I Read It (In The Rolling Stone) (Aquilina/DiMucci) 3.57
03. Holly Brown (DiMucci) 3.35
04. Ride’s Blues (For Robert Johnson) (Aquilina/DiMucci) 4.41
05. Two Train Medley
05.1. Still A Fool (Morganfield)
06.2. Ramblin’ On My Mind (Johnson) 4.06
06. You Love Me Baby (Mooney Dion) 3.49
07. You Keep Me Cryin’ (DiMucci) 4.24
08. My Michelle (Aquilina/DiMucci) 3.52
09. My Baby’s Cryin’ (DiMucci) 3.40
10. I’m Ready To Go (Aquilina/DiMucci) 3.13
11. Bronx Poem (DiMucci) 5.04



Max Richter – Recomposed By Max Richter – Vivaldi: The Four Seasons (2012)

FrontCover1It starts with a shimmer of something strange and soft, an ambient mist of strings that’s both electronic and acoustic. Then something weird happens. Out of these shifting sonic tides comes an ensemble of violins – playing fragments of the world’s most overfamiliar concerto, the soundtrack to 1,000 adverts, an on-hold phone favourite that features on every classical compilation ever. Yes, it’s Vivaldi’s Four Seasons – but not as we know it.

This is Vivaldi Recomposed, by genre-hopping, new-music maestro Max Richter. So the big, clanging question is: why? Why retouch, rework, and reimagine Vivaldi’s evergreen pictorial masterpiece? “The Four Seasons is something we all carry around with us,” says Richter, a German-born British composer. “It’s just everywhere. In a way, we stop being able to hear it. So this project is about reclaiming this music for me personally, by getting inside it and rediscovering it for myself – and taking a new path through a well-known landscape.”


(from left) André de Ridder, Max Richter and Daniel Hope

This involved “throwing molecules of the original Vivaldi into a test tube with a bunch of other things, and waiting for an explosion”. You can hear this chemical reaction particularly well at the opening of Richter’s reworked Summer concerto, which has become a weird collision of Arvo Pärt-likemelancholy in the solo violin and a minimalist workout for the rest of the strings. “There are times I depart completely from the original, yes, but there are moments when it pokes through. I was pleased to discover that Vivaldi’s music is very modular. It’s pattern music, in a way, so there’s a connection with the whole post-minimalist aesthetic I’m part of.”

Part of the fun of the album is that your ears play tricks with your memory of the original: these familiar melodies do unexpected things, resulting in an experience that’s both disturbing yet full of strange delights. And imagine how it felt for Recomposed’s solo violinist Daniel Hope: having played the original for decades, he – and more importantly his fingers – faced a surreal task when he first picked his way through Richter’s score.


Alternate frontcover

“It was incredibly thought-provoking,” he says. “I had to deal with all the curveballs Max throws at you, the way he does things you don’t expect.” The experience clearly messed with Hope’s mind. “What really threw me was the first movement of Autumn. He pulls the rhythm around, starts dropping quavers here and there. You end up with a rickety and slightly one-legged Vivaldi. It’s incredibly funny. But even in poking fun at the original, there’s always enormous respect.”

The slow movement of Winter is another standout moment for Hope. “It’s really out of this world,” he says. “It’s as if an alien has picked it up and pulled it through a time warp. It’s really eerie: Max has kept Vivaldi’s melody, but it’s pulled apart by the ethereal harmonics underneath it.”

Can it all work beyond the recording studio? Audiences at the Barbican in London will find out later this month, when Vivaldi Recomposed is given its debut performance, with Hope backed by the Britten Sinfonia under the baton of André de Ridder. If the work sends listeners back to the original with new ears, that’s all part of the point, says Richter. “The original Four Seasons is a phenomenally innovative and creative piece of work. It’s so dynamic, so full of amazing images. And it feels very contemporary. It’s almost a kind of jump-cut aesthetic – all those extreme leaps between different kinds of material. Hats off to him. That’s what I’m really pleased with: my aim was to fall in love with the original again – and I have.”


Daniel Hope (violin)
Max Richter (synthesizer)
Konzerthaus Kammerorchester Berlin conducted by André de Ridder:
Raphael Alpermann (harpsichord)
Matthias Benker (viola)
Karoline Bestehorn (violin)
Cornelia Dill (violin)
David Drost (cello)
Ying Guo (cello)
Johannes Jahnel (violin)
Alexander Kahl (cello)
Felix Korinth  (viola)
Jana Krämer (violin)
Christoph Kulicke (violin)
Sayako Kusaka (violin)
Alicia Lagger (violin)
Nerina Mancini (cello)
Ronith Mues (harp)
Jorge Villar Paredes (bass)
Katja Plagens (viola)
Martin Schmidt (viola)
Georg Schwärsky (bass)
Sandor Tar (bass)
Ulrike Töppen (violin)



Recomposed By Max RichterVivalid The Four Seasons:
01. Spring 0  0.42
02. Spring 1  2.31
03. Spring 2   3.19
04. Spring 3  3.09
05. Summer 1   4.11
06. Summer 2   3.59
07. Summer 3  5.01
08. Autumn 1   5.42
09. Autumn 2  3.08
10. Autumn 3   1.45
11. Winter 1  3.01
12. Winter 2  2.51
13. Winter 3  4.39

Music: Antonio Vivaldi + Max Richter

Electronic Soundscapes:
14. Shadow 1   3.55
15. Shadow 2  2.32
16. Shadow 3   3.34
17. Shadow 4   2.33
18. Shadow 5   3.00




Iris Romen – Vintage Gal Hour (2012)

FrontCover1Looking at the cover photo, you could be excused for thinking “Vintage Gal Hour” is an album from the Golden Fifties. A classically-cut dress, a bow around the waist and a headband in the hair, eyes gazing longingly into the distance – that is how IriS Romen presents herself on the cover of her debut solo album. The pose in retro-look is a stylistic reference to the sound that awaits us behind the CD’s cellophane – with its invocation of music genres from decades gone by, it also has an anachronistic feel to it at first. Does IriS Romen have a place in the present at all, with her revisiting of the vintage sound of past epochs? But of course! And how! Because let’s be honest – don’t we all have a little of this lovable little Dutch girl in us just longing to get out? Doesn’t she appeal to all our yearnings for yesteryear and the undeniable advantages it had? In a word: yes! In an age of emotionally detached, fully digitised technology, she strikes straight at the heart with her genuine, hand-made songs.

IrisRomen01Her heart-warming music with the old-vinyl feel satisfies that hunger for true emotions so pervasive today, and that makes it modern and up-to-the-minute. What IriS Romen has recorded here in Berlin together with producer Johnny Bluth (Johnny Trouble Trio) and her musician friends over a period of almost two years and using old analogue equipment reveals a profound knowledge of the 50s and 60s. We hear Old-Time Country in a style reminiscent of Kitty Wells (“You Stole My Heart”) and Loretta Lynn (“Growing Pains”), are highly entertained by the nostalgically jazzy (“I Found You In Fall”), delight in string sounds à la Hank Marvin of The Shadows (“Tabou”) and encounter twang guitars like the ones from those old Spaghetti Westerns (“Dance With Me”). But the best thing about the songs is that IriS Romen doesn’t simply rinse and repeat the influences of her idols, she recreates them again from scratch in her own imagination. Despite numerous quotes and cross-references, “Vintage Gal Hour” is completely and utterly IriS Romen. She wrote all the tracks on this solo album herself and is blessed with a wonderful, natural, unmistakable voice that renders pointless any comparisons with stars from the past.

IrisRomen02Iris Romen discovered at a very early age that the music from the early 20th century struck a chord in her. She would sing along ardently when her father put on LPs at home, and she loved doing famous musicals in school performances. It was experiences like those that led, in her teenage years, to her resolve to make singing her career one day. After graduating school she studied jazz vocalisation with Janice Lakers at the Maastricht music academy and classical singing with Marie-José Van De Beuken, while also financing private lessons with vocal coach Anne Bruning by working in a supermarket (where she once even served André Rieu). During this phase, her love of old jazz emerged.

She also came to know and love the Brecht interpretations of Kurt Weill, Paul Dessau and Hanns Eisler during this time, and was introduced to the world of Jump ‘n’ Jive, Rock ‘n’ Roll and Rhythm ‘n’ Blues as a guest singer in Ray Collins’ Hot Club. In 2004, IriS Romen, who had by then also learned how to play the double bass, moved to the German capital where she still lives today. Saturdays she takes the packed Clärchens Ballhaus, the historical dance hall that Quentin Tarantino used as a set in “Inglourious Basterds”, through rousing dance evenings as the lead vocalist of the Ballhaus Band. She also broadens her spectrum as a member of the girl group The Runaway Brides (often to be seen supporting BossHoss) and Ben Becker’s background band. Now the time is ripe for an international solo career. “I believe in the timelessness of everything that is done and viewed with the heart.” That is what IriS Romen says of her solo debut. On it she strikes exactly the tone of her favourite ages, while remaining on the cutting edge of the present with every note. Very few manage that balancing act, but on “Vintage Gal Hour” Iris Romen succeeds immaculately. (by grooveattack.com)

Oh, Iris … let me be your strange boy ….

Ricco Baader (guitar)
Sascha Bachmann (drums)
Felix Berchthold (guiar)
Christian Betancourt (percussion)
Johnny Bluth (guitar, harmonica, glockenspiel, drums, percussion)
Dalai Cellai (cello)
Matthias Geserick (bass)
Iris Romen (vocals, guitar, piano, glockenspiel, bass, cowbell)
Tall Tony (bass)

01. Dance With Me 3.37
02. Love Catastrophe 1.33
03. You Stole My Heart 2.39
04. Clouds 4.52
05. Iris’ Song 3.20
06. Bird Of Freedom 2.35
07. Tabou 3.14
08. Starnight 3.34
09. I Found You In Fall 2.19
10. Strange Boy 4.06
11. Growing Pains 2.45
12. Last Song 11.34

All songs written by Iris Romen



Choirs of St Elisabeth Convent – You Simple Have To Love (Всего-то навсего) (2012)

FrontCover1You simply have to love! With love, your life will become meaningful, everything around you (flowers, stones, birds and the sea) will make you happy and preach God’s love. You simply have to love! You should find this precious feeling inside your soul and never judge or be envious or be depressed. Show love to all those people whom God sends to you on your way. You simply have to love! Is it that simple? Oh, how hard it is! Sometimes it is even impossible for us sinners. However, the Lord comforts us by showing the examples of how the Mother of God, the saints and ordinary people, monks and lay people could truly love, believe and repent. This is what the selection of songs on this disc attempts to convey. (by Nun Juliania Denisova)

This new album is unique because both choirs of St Elisabeth Convent, i.e., the monastic choir and the festive choir, sing together. The monastic sisters lead the chant in two or three voices while the festive choir provides a backup by imitating the sound of a harp or a guitar, typical of this genre.

St Elisabeth Convent in Minsk

St Elisabeth Convent in Minsk

This disc features a variety of styles: from the Slavic folklore (‘Oh, went and passed’ and ‘Leech in the Water’) and Tchaikovsky’s music (‘The Crown of Thorns’ (‘When Jesus Christ Was Yet A Child’)) to music created by our contemporaries – Hieromonk Roman (‘Hail, O Bride Unwedded’), Archdeacon Roman (‘God Have Mercy on Me’), Nun Juliania (Denissova) (‘A Publican’, ‘You Simply Have to Love’, words by Archpriest Andrew Logvinov). All songs were treated by one and the same author, the precentor of St Elisabeth Convent Nun Juliania, and have one single style, which is why all of them sound like one single whole and are easy to listen to. (by obitel-minsk.by)

St Elisabeth Convent was founded in 1999 on the basis of the Sisterhood of Saint Elisabeth. Currently, there are over 100 nuns in the Convent. Archpriest Andrew Lemeshonok has been the spiritual father of the Convent since the very beginning of its existence. Our spiritual beacons, both in the everyday life of the Convent and in the ways we interact with the world, have been SS Martha and Mary Convent founded by Grand Princess Elisabeth in Moscow, as well as St John the Baptist Monastery in Essex, the UK, founded by Archimandrite Sophrony (Sakharov).

MinskA convent is a family united around God. The members of this family are very different and come from diverse backgrounds, and it is in the convent where they learn to love each other and pray for each other. Through this effort they gradually develop perfect love and prayerful concern for every living being and all humankind.

A convent is also an army, inasmuch as its soldiers must be ready for unconditional obedience to God’s command and for the daily battle against sin, relying on the armour of God.

LogoOh Lord …

This is religious music and even I don´t believe in God … this is a real beautiful music … it´s like Enya … but without instruments

The Festive Choir of St Elisabeth Convent
The Monastic Choir of St Elisabeth Convent

01. Всего-то навсего (You Simply Have to Love) (Denisova/Logvinov) 4.45
02. Странник (The Wanderer) (unknown) 1.52
03. Боже, помилуй меня (God, Have Mercy On Me) (unknown) 3.03
04. О, дивный Валаам! (Wondrous Isle Of Valaam!)  Poetry by Monk Peter Mikhailov 3.55
05. Храни Господь (God Save You)  (Sisters of St Elisabeth Convent) 3.03
06. Вера, Надежда, Любовь (Faith, Hope, Love) (Lepeshinsky) 3.34
07. Радуйся, Невесто Неневестная (Hail, O Bride Unwedded) (Roman) 4.17
08. Был у Христа-Младенца сад (When Jesus Christ Was Yet A Child) (Tschaikowsky/Pleshcheyev) 2.59
09. Марие, Дево Чистая (Agni Parthene) (St Nectarios of Aegina) 6.08
10. Слеза (A Tear) (Denisova) 3.06
11. Три ангела (Three Angels) (Traditional) 3.45
12. Вьюн над водой (Leech In The Water) Traditional) 4.37
13.  Мытарь (The Publican) (Denisova/Logvinov) 3.54
14. Нить судьбы (The Thread Of Destiny) (Denisova/Solodovnikov) 2.39
15, Нищая братия (The Poor Brethren) (Traditional) 3.36



Richie Sambora – Aftermath Of The Lowdown (2012)

FrontCover1Aftermath of the Lowdown is the third solo album by Richie Sambora which was released on September 18, 2012 as digital download and on September 25, 2012 as physical CD (digipack format). In the United Kingdom the album was released on September 17. For the first time in his 30-year career, Sambora signed with an independent label, Dangerbird.

To promote the album, Sambora and his band appeared as the house band on The Late Late Show with Craig Ferguson for the first week in December 2012.

The album charted at #10 on the “Top Hard Rock Albums”, #34 on the Top Independent Albums, #149 on The Billboard 200[3] and #35 on the UK Albums Chart.

RichieSamboraThe track “Every Road Leads Home to You” was released as a single for the album and features a music video. The song is also featured as one of the bonus tracks on Bon Jovi’s 2013 album What About Now. A special edition single, “I’ll Always Walk Beside You'” featuring Alicia Keys was released as the second single of the album and also features a music video. All the profits from the sale of the special edition single goes to the ongoing recovery efforts of The Red Cross for the devastation from Hurricane Sandy. The track “Sugar Daddy” was released as a promo single. (by wikipedia)

RedCrossFrontCoverWith the title of Aftermath of the Lowdown, his first solo album in 14 years, Richie Sambora could very well be referring to a bunch of personal problems that plagued him in the back half of the 2000s. Certainly, there is an element of confession running throughout Aftermath of the Lowdown but what’s more striking about this, Sambora’s third solo album, is that it is not only emotionally charged but also musically adventurous, the guitarist straying far from Bon Jovi’s teased Springsteen tributes. Sambora dabbles in some modern sounds, explicitly evoking Coldplay on “Every Road Leads Home to You,” but more often he suggests Bowie by way of Aerosmith, retaining his bloozy leads but indulging in trashy glam stomps as frequently as he shows a fondness for lively pop that’s artful and almost a little soulful. After beginning with a deluge of heavy guitars that fall within the realm of expectations, Aftermath of the Lowdown then takes several left turns, so much so that it’s never entirely clear what kind of song will follow next. This sense of adventure explains the album’s release on Dangerbird Records and it also makes the album something else entirely: a record that firmly establishes Sambora’s artistic identity outside of Bon Jovi. (by Stephen Thomas Erlewine)

Rusty Anderson (guitar)
Luke Ebbin (keyboards, background vocals, programming)
Roger Joseph Manning, Jr. (keyboards)
Richie Sambora (vocals, guitar)
Matt Rollings (keyboards)
Curt Schneider (bass)
Aaron Sterling (drums)
Alicia Keys (piano on 13.)


01. Burn the Candle Down (Sambora/Ebbin) 4.23
02.  Every Road Leads Home To You (Sambora/Ebbin) 4.40
03. Taking A Chance On The Wind (Sambora/Ebbin) 4.47
04. Nowadays (Sambora/Ebbin) 4.00
05. Weathering The Storm (Sambora/Taupin) 4.49
06. Sugar Daddy (Sambora/Ebbin) 4.37
07. I’ll Always Walk Beside You (Sambora/Ebbin) 5.03
08. Seven Years Gone (Sambora/Ebbin) 5.36
09. Learning How To Fly With A Broken Wing (Sambora/Cassens) 4.35
10. You Can Only Get So High (Sambora/Cassens) 6.32
11. World (Sambora/Foster) 2.22
12. Backseat Driver (Japan bonus track) (Sambora/Ebbin) 4.12
13. I`ll Always Walk Beside You (bonus track from the Red Cross album) (Sambora/Ebbin) 4.45



Silje Nergaard – Unclouded (2012)

FrontCover1In 2009, orchestral A Thousand True Stories, the year after it was time for the Christmas album If I Could Wrap Up A Kiss. In 2012, follow up with Silje Nergaard Unclouded, an album based on the concept trio consisting of herself and the two guitarists Hallgrim Bratberg and Havar Bendiksen. Silje has also been joined by musicians – especially guitarists – which has meant a lot to her throughout her career. ¤  With the album include the Knut Reiersud, Jojje Wadenius, Nils Einar Vinjor and renowned jazz guitarist John Scofield. Trumpeter Nils Petter Molvaer also contributes, and Silje singing a duet with Kim SiljeNergaardRysstad the song “Norwegian Boat Song. ”Unclouded focuses on the interplay between the vocals and guitar, inspired by Nergaards childhood with a guitar-playing father. The sound is stripped down significantly, and the muted instrumentation lets the melodies shine extra strong — as well as variation in the expression gives the album life, with a range that goes from the soft, beautiful to the rougher and more playful. (taisawards.com)

In the spring of 2012, Siljereleased her 13th album, Unclouded, whichincludes nine original songs composed by the songwriter plus special contributions by American guitarist John Scofield, blues guitarist Knut Reiersrud and jazz trumpeter Nils Petter Molvær. The album’s title refers to the carefree attitude of children and their spontaneity, a quality Silje had been longing for and one that she has successfully recreated with these new songs. Accompanied by only two guitarists, the singer masterfully uses all the nuances of her voice to interpret songs that are true poetry. Although Unclouded marks a shift from her previous albums, Silje remains true to herself, redefining her relationship with jazz in each new song she sings. (icm.gov.mo)

Halgrim Bratberg (guitar, bass)
Haar Bendiksen (guitar, bass)
Silje Nergaard (vocals and compositions
Frida Annevik (vocals)
Peter Hallström (background vocals)
Jon Pal Inderberg (saxophone)
Nils Petter Molvaer (trumpet)
Knut Reiersrud (guitar)
Kim André Rysstad (vocals)
John Scofield (guitar)
Pal Svenre (background vocals)
Nils Einar Vinjor (guitar)
Jojje Wadenius (guitar)
Martin Winstad (percussion)


01. All I Had 5.08
02. Norwegian Boatsong 6.22
03. God’s Mistakes 4.13
04. The Moon’s A Harsh Mistress 5.11
05. Ordinary Sadness 5.00
06. When The Morning Comes 3.52
07. Det Var For Sent 4.35
08. When Our Tune Is Played 3.28
09. He Must Have Been Telling A Lie 3.11
10. I Will Write You Every Da 3.43
11.Human 4.48

All songs written by Silje Nergaard + Mike McGurk