NI VU NI CONNU
 

Blue for a Moment - Vinyl Box

Sven-Åke Johansson

This box set of 9 heavyweight 180g LPs comprises a collection of recent recordings made during the shooting of the documentary film Blue for a Moment as well as historic material, including a concert by the Schlippenbach & Johansson duo recorded in the late 1970s. The compilation showcases the protean qualities of an essentially unclassifiable artist.

Berolina Suite nvnc-lp005/006
Fallstudien nvnc-lp007
Das Marschorchester nvnc-lp008/009
Frost nvnc-lp010
Ein Abend in Pöseldorf nvnc-lp011
Hudson Songs
nvnc-lp012
Lind
nvnc-lp013

Liz Allbee trumpet
Burkhard Beins percussion
Florian Bergmann clarinet
Pauline Boeykens tuba
Rüdiger Carl clarinet
Rhodri Davies harp
Axel Dörner trumpet
Erik Drescher flutes
Alistair Duncan bass trumpet
Hilary Jeffery trombone
Sven-Åke Johansson accordion, percussion, voice
Martin Klingeberg baritone horn
Richard Koch trumpet
Annette Krebs e-guitar, electronics  
Hannes Lingens bass drum
Christian Magnusson trumpet
Theo Nabicht clarinet
Andrea Neumann inside piano, electronics
Alexander von Schlippenbach piano, trumpet

With an introduction by Karl Bruckmaier
LP liner notes by Thomas Milroth
Graphic design Laurent Daubach/designbureau
Produced by Antoine Prum for Ni-Vu-Ni-Connu Productions

nvnc-lp005/013

 

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"Yes, Afro-America first pointed at the wounds. But Europe has its own wounds. The expressivity of the blues on the Hudson River becomes the entomologist’s curiosity on Hudson Riv. With a cool – or Nordic, if you like – gesture, Johansson dissects the structures of improvisation. For who else could do it better than the bard on drums? His beat has also to do with politeness. His furor is called restraint. His sourdough rises thanks to pop music and operetta and march music, and dons a string of lights on its head. The music doesn’t cry out for blackness, grime and makeup – it’s only blue for a moment – but whispers of the Djungel, of Schlingerland, the ballistics of European life realities. And somewhere far out there, Ol’ Man Rebop is listening to the stuttering of two-stroke engines. Because that’s the actual miracle, namely, that all things have a sound of their own, and yet no one hears it. This puts Johansson in the role of a go-between: with the sparsest of means, he lets things be wave and particle at once and, by reacting to this simultaneity in his performances, reports from other life-worlds. Do androids dream of electric sheep? Mais oui! Always performing in a suit."

Karl Bruckmaier