Liarbird Ola Kvernberg

• 1 Liarbird 09:10
• 2 Boog 09:44
• 3 Boun'Anima 09:49
• 4 Wintermelon 07:54
• 5 Vilje 06:18
• 6 Olero 08:01
• 7 Cobb 09:04
• 8 Spannung 06:12
• Total Runtime 01:06:12

Info for Liarbird

Ola Kvernberg, violin impresario par excellence, returns to Jazzland with yet another astounding album: Liarbird. The album effortlessly moves between moments of serene beauty and raucous full-on jams, at times almost ambient in texture, at times sounding like a drunken night of revelry.

The division between composition and improvisation is often blurred, with moments of unison emerging and disappearing unexpectedly, all the time carrying the music forward to new heights.

Developed from an original live concept by Kvernberg, Liarbird follows a structure based on movements, creating a conceptual whole rather than a selection of individual pieces. The intensity of the album increases with each subsequent track, but “intensity” is not merely a term used here to describe increases in boisterous energy; rather, it describes the feeling within each track.

Kvernberg’s violin is obviously to the fore, but never exclusively dominant. Instead, it acts like a guide for the music to follow, leading it through the uncharted territories between free jazz and compositional expertise, with sparse moments of haunting beauty and large walls of full band sound. Minimalist compositional techniques are given a new setting, allowing an unparalleled line-up of musicians to move freely. Accompanying Kvernberg are Bergmund Waal Skaslien on viola and vocals, Eirik Hegdal on soprano, sopranino and baritone saxophones and vocals, Mathias Eick on trumpet, Håkon Kornstad on tenor saxophone, flutonette, and vocals, Ingebrigt Håker Flaten on double bass, electric bass, electronics, and vocals, Ole Morten Vågan on double bass and vocals, Erik Nylander and Torstein Lofthus on drums and percussion.

The opening track, the eponymous “Liarbird” sets the album’s agenda perfectly, with languid notes and elongated harmonies alongside chattering percussion and exquisite soloing. “Boog” creates a kind of Macedonian atmosphere, using exotic scales and obtuse instrumentation, building into a kind of free jazz horo. “Boun’Amina” begins with a clearly improvisational character, although not necessarily existing outside composition, using extended string instrument techniques. It evolves into a kind of shambolic military march, with elements of classic New Orleans jazz ingredients. “Wintermelon” comes in with an utterly different attitude, like classic cool jazz on one hand, bebop on the other, while the feet are almost ready to make their way to the nearest disco; yet the free jazz ethos in never far away. “Vilje” begins with sedate bass, moving towards a chamber ensemble sound. It is perhaps one of the most beautiful pieces of music to grace the Jazzland catalog, and is certainly a highpoint in Kvernberg’s already exemplary career. “Olero” enters with a near discordant pulse, before breaking into a stumbling journey through Middle Eastern vibes and classical overtones. “Cobb” strides in with bravado, a strong beat, strong melodies and harmonies at the fore, and fast becomes a full-throttle improvisational workout. But it retains a DNA structure found throughout the album. “Spannung” brings the album to a close, with broad yet deep structures, and a more distilled sense of the album’s overarching structural intentions. Little motifs abound throughout the album, with each track echoing the others in some way. The unity of each part with the others is unmistakeable.

"Ola Kvernberg has composed a musical masterpiece" said Norwegian concert critic Pia F. Eriksen after Liarbird's performance at Molde Jazzfestival 2010. Allaboutjazz.com critic John Kelman called the same concert "positively nuclear" and listed it among his best live shows of 2010. Norwegian critic Terje Mosnes from Dagbladet followed up with a 6/6 stars review after the group's third performance in Oslo, January 2011. Liarbird follows its live ancestry with equal determination, invention and craftsmanship.

Ola Kvernberg, violin
Bergmund Waal Skaslien, viola, vocals
Eirik Hegdal, soprano, sopranino and baritone saxophones, vocals
Mathias Eick, trumpet
Håkon Kornstad, tenor saxophone, flutonette, vocals
Ingebrigt Håker Flaten, double bass, electric bass, electronics, vocals
Ole Morten Vågan, double bass, vocals
Erik Nylander, drums, percussion
Torstein Lofthus, drums, percussion

Recorded at Oceansound - Giske
Mixed and mastered by Morten Stendahl at Redroom Studios - Trondheim

Ola Kvernberg
born 1981 is a norwegian composer and violinist. Although known to most audiences as a jazz musician, his works in recent years include numerous albums, movie scores and live projects spanning multiple genres, appearing both as leader and sideman.

Ola grew up in a musical family, playing the fiddle in the folk tradition of his mom and granddad, starting classical training at age 6. At 14, he was awarded 3. Price at 'Concorsi Internazionale di Musica - Città di Stresa' in Italy. At age 16, his father presented him to an album titled 'Two of a Kind', featuring the legendary jazz violinists Svend Asmussen and Stephane Grappelli. The discovery led him to an instant interest in jazz music, eventually joining a number of traditional jazz groups in his neighboring town, Molde.

In 2000, during his final semester at upper secondary school, he presented himself to Jon Larsen of Hot Club de Norvége backstage the annual Django Festival in Oslo. The renowned string swing ambassador instantly invited Ola to sit in on the next set. A few months later, he was invited to record with Hot Club and Manouche guitar virtuoso Jimmy Rosenberg. The much anticipated debut album entitled 'Hot Club de Norvége presents Ola Kvernberg & Jimmy Rosenberg' received a 6/6 stars review in Dagbladet (NO) by norways most significant jazz critic Terje Mosnes, stating '18 year old Kvernberg makes his debut with a display of technique, tone and an idiomatic confidence in his phrasing none less than sensational.' His collaboration with Hot Club resulted in numerous recordings and several tours throughout the following three years.

Aged 20, he began his studies at the Institute of Music at the University of Trondheim, Norway (NTNU). As he seemingly effortlessly blended into any musical context, he quickly became a highly coveted session player on the Norwegian music scene. He spent four prolific years at the University, appearing on close to thirty albums and numerous concerts alongside his studies. His first appearance as a member of the Trondheim Jazz Orchestra was with Erlend Skomsvoll & Pat Metheny in 2003. He is still an associated member of the Trondheim Jazz Orchestra, occationally touring and recording with them.

This album contains no booklet.