This is not a work that can be recreated one-to-one it is not a work that can be read from a score and played. In the mix and in the recording certain sounds and manipulations of the instru-ments recur. Electronic interventions, produc-tion details that clearly show that this is far from being the result of a moment’s impro-visation. Has the composer dumped his historical role in the dustbin? Has Morten Olsen let go of the reins? And in that case in what sense is he a composer?īut then other structures begin to appear in the music.
#CL STUDIO KALINA SERIES#
Like a recor-ding of a series of inspired moments where this jazz group found one another in an intense session of playing together. With the moment and the impulsive as the focus. With the openness of jazz to co-creation by the instrumentalists. The music sounds free, improvised – jammed.
![cl studio kalina cl studio kalina](https://carlook.net/data/posts_photos/3/3736/cl-albums-photo-26317_thp.jpg)
So is it jazz we are hearing now? Is this a decisive rupture for the composer? But Morten Olsen has earlier – in works like ‘In a Silent Way’, ‘Kata’ and ‘Oryq’ – moved within the relatively normal field of composition music. Trumpet, drums, bass, keyboard and guitar. What kind of music are we listening to? On the face of it, it sounds like a jazz ensemble. By drawing as much on a musical language and an understanding of music that comes from jazz-rock, from fusion music and from avant-garde jazz as on the pre-mises of composition music, the work puts us in the embarrassing situation of having to ask ourselves – as listeners – certain fundamental questions. That the new departure, the fresh and innovative – rather than the normal – is always the guiding principle.Īll the same, it is obvious that Morten Olsen’s work ‘Be My Quiet Friend’ sounds different. So what is ‘normal’ in this context? If what is called contemporary composition music has established anything in the course of the past seventy years, it is surely that the word ‘normal’ is undesirable. That the group of musical gods and spirits that bless a continuation or renewal of the tradition is composed of personages quite different from the usual ones. That the pantheon that always watches over the birth of a new work is an alien one. What is it that we hear?įrom the first note it is clear that something is not as it usually is. Music that can contain both complexity and sensitivity. With ‘Be My Quiet Friend’ Morten Olsen has set out to find a musical stance that is not bound by any conventions. Their new departures and discoveries are in reality discoveries of their own musical personalities. No matter whether it is Miles Davis, György Ligeti or Pelle Gudmundsen-Holmgreen, their methods do not get in the way of the music. “I insist that music must seduce me,” he says. It is over ten years since he decided to make a kind of music that finds its very DNA in the uncompromising and complex, but which then permits itself to be produced and recorded so it becomes seductive. As a reaction to the experience of a concert that was “campfire songs, arranged and complicated so they sounded like composition music,” he decided to do the opposite. But it is also a culmination of his work as a composer. Certain passages are entirely improvised, while others were written out in detail.Īnd the triumph is that it is in fact pointless to try to distinguish between the two.įor Morten Olsen ‘Be My Quiet Friend’ is a return to his youth as a fusion musician.
![cl studio kalina cl studio kalina](https://images.plex.tv/photo?size=medium-240&scale=2&url=https:%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F986386%2F0b8da949c7a77d8236f98cbd95720097.jpg)
It makes use of improvisation and lets the musicians play “whatever occurs to them,” but has been trimmed, edited and manipu-lated ad infinitum.
![cl studio kalina cl studio kalina](http://cl-pass.com/pix/CLS/_face2/margarita.jpg)
It took more than ten years to produce, but it is based on moments. Morten Olsen’s ‘Be My Quiet Friend’ is an album of paradoxes. You can specify any number of options, filenames, and library names, as long as the number of characters on the command line does not exceed 1024, the limit dictated by the operating system.įor information about the return value of cl.exe, see Return Value of cl.exe. See CL Command Files for more information. CL passes these names to the linker.Ī file that contains multiple options and filenames. See CL Filename Syntax for more information. CL compiles source files and passes the names of the. See Order of CL Options for more information. Option names (except for the /HELP option) are case sensitive. If an option takes an argument, the option's description documents whether a space is allowed between the option and the arguments. Options are specified by either a forward slash (/) or a dash (-). Note that all options apply to all specified source files. The following table describes input to the CL command. The CL command line uses the following syntax: CL file.