Additional information
Personnel: Line Horntveth (vocals, flute, tuba, glockenspiel, percussion); Erik Johannessen (vocals, trombone, percussion); Lars Horntveth (guitar, lap steel guitar, flute, bass clarinet, tenor saxophone, piano); Andreas Mjos (guitar, vibraphone, percussion); Marcus Forsgren (electric guitar); Katherine Shave, Gillon Cameron, Thomas Gould , Beatrix Lovejoy, Marcus Broome, Alexandra Reid, Anne Bradley, Judith Kelly (violin); Clare Finnimore, Bridget Carey, Tom Hankey (viola); Caroline Dearnley, Joy Hawley, Ben Chappell (cello); Emer McDonough (flute, alto flute, piccolo); Joy Farrall (clarinet, bass clarinet); Chris ONeal (oboe); Elizabeth Trigg (bassoon); Mathias Eick (trumpet, piano, keyboards, vibraphone, upright bass); Jon Stokes (trombone); David Eaglestone (bass trombone); David Powell (tuba); Phillip Eastop, Ed Mills (horns); Oystein Moen (piano, synthesizer); Even Ormestad (keyboards); Roger Linley (double bass); Martin Horntveth (drums); Toby Kearney, Tony Bedewi (percussion). Audio Mixer: Jorgen Træen. Recording information: The Barbican, London (06/2012); Ultima Oslo Contemporary Music Festival, Rockerfeller M (06/2012); The Barbican, London (09/2012); Ultima Oslo Contemporary Music Festival, Rockerfeller M (09/2012). Editor: Lars Horntveth. Photographers: John Kelman ; Andreas Froland; Bjorn Magne Idland; Colin Eick; Elisabeth Hoiberg. Arrangers: Erik Johannessen; Lars Horntveth. Given the depth of Jaga Jazzist's sophistication and their wide-ranging musical vision that encompasses everything from free jazz to hip-hop, from techno to funk, from rock to modern composition, this Norwegian ensemble is a natural partner for a collaboration with the internationally renowned Britten Sinfonia under the direction of Christian Eggen. The material was chosen from JJ's catalog (particularly from the One-Armed Bandit album, which they were touring in support of), and is beautifully arranged, performed, and recorded. While the lengthy treatment of "One-Armed Bandit" opens with strings, brass, and winds playing something that resembles a cadenza from one of the Sinfonia's namesake's symphonies, it quickly quiets down into the nearly pastoral for a few minutes before JJ enters with a persistent beat-head pulse, and the piece morphs into a symphonic, progressive jazz workout with a fantastic array of colors. The plucked strings and bass clarinet that introduce "Kitty Wu" set up a compelling juxtaposition that expands to include synths, loops, breaks, and a contrapuntal dialogue between electric guitars, brass, organic and synthetic rhythms, striding strings, and expansive winds. Not all of this gig works, however. At nearly 11 minutes, "Bananfluer Overalt" reveals surprisingly little in terms of contrast, dynamic, or adventure -- even with its killer rock guitar solo -- and "Toccata" says more about the Sinfonia than it does JJ; the winds shine brighter than the brass-heavy, Euro-big-band chart. Neither of these pieces is dull, it's just that the earl
