Skarbø Skulekorps – Innesko (2023). Press release
Skarbø Skulekorps (Skarbø School band) is a band full of contradictions: The marching band that never marches. The jazz outfit that strikes a chord with people who hate jazz. And it doesn’t get any less confusing as the ensemble announces the release of their third album, Innesko (indoor gym shoes).
Ranging from sleazy funk gems straight out of an American soap opera circa 1985 (Miami) – to thoughtful jazz meets clubbing (HI-HTS): Innesko provides 9 extremely varied pieces that still belong together. It’s this unpredictability that has defined Skarbø Skulekorps these past four years and that keeps audiences and critics engaged. Performing at Norway’s biggest pop festival Øyafestivalen and the country’s premier talk show (Lindmo) in addition to being awarded the prestigious EDVARD award for their last record, the stakes are way too high. But composer, drummer, producer and band leader Øyvind Skarbø can’t do anything but follow his instincts: «I am not at all strategic when starting a new album. Whatever I’m interested in at the moment, ends up on the record."
2019’s eponymous debut album was recorded live in the studio, with very detailed musical arrangements. Dugnad (2021) was more of a studio project, much due to the pandemic. «The music I’m writing is often a reaction to the last thing I did. Dugnad was built up bit by bit. When I was ready to make Innesko, I wanted to fuse the different working methods from the two previous albums.»
The bulk of Innesko was recorded at Bergen Kjøtt, a former slaughterhouse turned culture centre in Skarbø’s hometown Bergen. The seven musicians recorded new music throughout the day, including a portion that ended up as a concert film. The material from the session was then reworked by Skarbø and additional recordings done by the musicians at their houses were added. Mix and mastering is by sound wizard Jørgen Træen, who also worked on the two previous albums.
The band still consists of some of Norway’s best improvising musicians, known from bands like Jaga Jazzist, Trondheim Jazz Orchestra and Sondre Lerche. But one name is new to the fold: Mari Kvien Brunvoll, vocalist with groups such as Building Instrument and Stein & Mari, makes a guest appearance on Lat-Lo. Skarbø: «Mari and I studied jazz together almost 20 years ago. We’ve wanted to do something together for years, but were waiting for the right opportunity. Suddenly it struck me: Obviously, Mari should sing on Lat-Lo!»
This particular song, inspired by 70’s California rock, was released as an instrumental track by Skarbø’s former band Bly de Blyant in 2016, featuring Shahzad Ismaily, Ches Smith and Hilmar Jensson. «As I was teaching it to the band I forgot to teach them one of the main sections. I’ve always heard it as a vocal tune anyway.»
The music is varied, complex and with plenty of resistance. The titles themselves reveal some of the creativity and variation in this material: From Snublepus («stumbling kitty»), dedicated to Skarbø’s cat which was in danger of having to amputate one of his hind legs, to Defund The Jazz Police, a title that says a lot about the group’s attitude towards genres.
Innesko marks not only another chapter for Skarbø Skulekorps, but also for the re-launch of the label Øyvind Jazzforum. After close to 15 years of releasing music on established labels, the time has come to take a more active role. «For my own projects I have ideas about most parts of the process. It’s only natural that I revitalise Øyvind Jazzforum, and take even more responsibility for my own work.»
Ranging from sleazy funk gems straight out of an American soap opera circa 1985 (Miami) – to thoughtful jazz meets clubbing (HI-HTS): Innesko provides 9 extremely varied pieces that still belong together. It’s this unpredictability that has defined Skarbø Skulekorps these past four years and that keeps audiences and critics engaged. Performing at Norway’s biggest pop festival Øyafestivalen and the country’s premier talk show (Lindmo) in addition to being awarded the prestigious EDVARD award for their last record, the stakes are way too high. But composer, drummer, producer and band leader Øyvind Skarbø can’t do anything but follow his instincts: «I am not at all strategic when starting a new album. Whatever I’m interested in at the moment, ends up on the record."
2019’s eponymous debut album was recorded live in the studio, with very detailed musical arrangements. Dugnad (2021) was more of a studio project, much due to the pandemic. «The music I’m writing is often a reaction to the last thing I did. Dugnad was built up bit by bit. When I was ready to make Innesko, I wanted to fuse the different working methods from the two previous albums.»
The bulk of Innesko was recorded at Bergen Kjøtt, a former slaughterhouse turned culture centre in Skarbø’s hometown Bergen. The seven musicians recorded new music throughout the day, including a portion that ended up as a concert film. The material from the session was then reworked by Skarbø and additional recordings done by the musicians at their houses were added. Mix and mastering is by sound wizard Jørgen Træen, who also worked on the two previous albums.
The band still consists of some of Norway’s best improvising musicians, known from bands like Jaga Jazzist, Trondheim Jazz Orchestra and Sondre Lerche. But one name is new to the fold: Mari Kvien Brunvoll, vocalist with groups such as Building Instrument and Stein & Mari, makes a guest appearance on Lat-Lo. Skarbø: «Mari and I studied jazz together almost 20 years ago. We’ve wanted to do something together for years, but were waiting for the right opportunity. Suddenly it struck me: Obviously, Mari should sing on Lat-Lo!»
This particular song, inspired by 70’s California rock, was released as an instrumental track by Skarbø’s former band Bly de Blyant in 2016, featuring Shahzad Ismaily, Ches Smith and Hilmar Jensson. «As I was teaching it to the band I forgot to teach them one of the main sections. I’ve always heard it as a vocal tune anyway.»
The music is varied, complex and with plenty of resistance. The titles themselves reveal some of the creativity and variation in this material: From Snublepus («stumbling kitty»), dedicated to Skarbø’s cat which was in danger of having to amputate one of his hind legs, to Defund The Jazz Police, a title that says a lot about the group’s attitude towards genres.
Innesko marks not only another chapter for Skarbø Skulekorps, but also for the re-launch of the label Øyvind Jazzforum. After close to 15 years of releasing music on established labels, the time has come to take a more active role. «For my own projects I have ideas about most parts of the process. It’s only natural that I revitalise Øyvind Jazzforum, and take even more responsibility for my own work.»
Skarbø Skulekorps – Dugnad (2021). Press release
“This album has everything. Which is why it’s not for everyone.”
The statement belongs to Øyvind Skarbø; bandleader, drummer and composer. His ensemble Skarbø Skulekorps released their highly praised debut album on Hubro in 2019, universally hailed for being both catchy and unpredictable at the same time. Dugnad does the same thing, but amplified to the extreme. It marks a deeper and even more radical exploration completely outside normal paths of genre and expectation.
“I never start with an agenda when I compose. I write what wants to come out, and then only later try to string it together.”
The album takes you from one extreme to the other. With 14 completely different tracks in just over 30 minutes, the structure of the album is inspired by the cassette mixtapes he used to listen to as a kid. “Since I was very young my older sisters used to make me tapes with what they were listening to. It could be anything: From Prince to Glenn Miller, from Enigma to Sepultura. My music has been very informed by this multitude.”
The almost lexical insight of music history is evident from the get-go: The music runs the gamut from 20th century classical composers to late-70s TV crime series, only to end up inside what sounds like the soundtrack of a mid-90s gaming console. But it’s the unorthodox and seemingly impossible way in which all these elements are combined into a coherent whole that make up the brilliance of this album. Instead of being nostalgic and referring, it feels new and unheard.
Dugnad is the recording where Skarbø not only cements his abilities as one of the most creative drummers and composers, but also steps into the frontline as a progressive producer in his own right. “I had been searching for better ways to make my ideas come to life. The pandemic situation forced me into a new way of working. As a jazz musician, I’ve always thought of things from an acoustic, live perspective. When I managed to let that go, many doors opened up.”
Initially intended as a regular session with everyone in the studio together, the worldwide pandemic forced the band into new ways of working. After writing the material, the musicians recorded their parts at home, either alone or in small groups. These recordings were then totally restructured and recomposed by Skarbø over the course of 6 months, culminating in 8 days of mixing with wizard engineer Jørgen Træen, who also mastered the album.
The core ensemble is almost the same as on the previous album, and reads like a who’s who in Scandinavian modern creative music: Reedists Signe Emmeluth and Eirik Hegdal deliver beautiful melodies one moment, only to burst into flames the next (check out Signe’s outrageous solo on PGA The Fruit). Trumpeter Stian Omenås has a playing history with Øyvind that goes back 27 years. Listen to his solos on Kassett and Murgröna, and you’ll hear why he is one of the most melodically gifted musicians around. New arrival Ivar Grydeland brings a new twist into the string department, with highly creative guitar parts hinting towards the grittier sides of rock, while his evocative pedal steel playing adds the melancholy. Chris Holm – prior to this known mostly for supporting artists in the pop realm – anchors the band with extremely musical bass playing, covering the album with subtle yet distinctive details. “I’m so incredibly proud of this band, “ says Øyvind. “Each and everyone of them are incredible improvisers, incredible performers, incredible composers. Without them my music wouldn’t lift off the ground.”
There are also guest appearances by select musicians. Reedist Klaus Holm brings a crackling alto solo on Anti-Crime Computer in tandem with Hegdal, while pianist Guoste Tamulynaite tackles the 10-finger chords on Central Parker with ease, a duo with Emmeluth recorded straight to cell phone. Guitarist Thomas Dahl sets the tone on Triple F and brings out his inner Steve Jones on F-Punk. Skarbø’s son, Elia, makes his recording debut on the track bearing his name, whilst one of the most praised composers of contemporary classic music, Øyvind Torvund, makes a special appearance on modular synth on the closing track.
“All in all, it’s been a good DUGNAD,” says Øyvind, referring to the impossible-to-translate Norwegian word. “Everybody gave their all, despite trying times. We brought our efforts together, and out came the new album. That’s the definition of DUGNAD.”
The statement belongs to Øyvind Skarbø; bandleader, drummer and composer. His ensemble Skarbø Skulekorps released their highly praised debut album on Hubro in 2019, universally hailed for being both catchy and unpredictable at the same time. Dugnad does the same thing, but amplified to the extreme. It marks a deeper and even more radical exploration completely outside normal paths of genre and expectation.
“I never start with an agenda when I compose. I write what wants to come out, and then only later try to string it together.”
The album takes you from one extreme to the other. With 14 completely different tracks in just over 30 minutes, the structure of the album is inspired by the cassette mixtapes he used to listen to as a kid. “Since I was very young my older sisters used to make me tapes with what they were listening to. It could be anything: From Prince to Glenn Miller, from Enigma to Sepultura. My music has been very informed by this multitude.”
The almost lexical insight of music history is evident from the get-go: The music runs the gamut from 20th century classical composers to late-70s TV crime series, only to end up inside what sounds like the soundtrack of a mid-90s gaming console. But it’s the unorthodox and seemingly impossible way in which all these elements are combined into a coherent whole that make up the brilliance of this album. Instead of being nostalgic and referring, it feels new and unheard.
Dugnad is the recording where Skarbø not only cements his abilities as one of the most creative drummers and composers, but also steps into the frontline as a progressive producer in his own right. “I had been searching for better ways to make my ideas come to life. The pandemic situation forced me into a new way of working. As a jazz musician, I’ve always thought of things from an acoustic, live perspective. When I managed to let that go, many doors opened up.”
Initially intended as a regular session with everyone in the studio together, the worldwide pandemic forced the band into new ways of working. After writing the material, the musicians recorded their parts at home, either alone or in small groups. These recordings were then totally restructured and recomposed by Skarbø over the course of 6 months, culminating in 8 days of mixing with wizard engineer Jørgen Træen, who also mastered the album.
The core ensemble is almost the same as on the previous album, and reads like a who’s who in Scandinavian modern creative music: Reedists Signe Emmeluth and Eirik Hegdal deliver beautiful melodies one moment, only to burst into flames the next (check out Signe’s outrageous solo on PGA The Fruit). Trumpeter Stian Omenås has a playing history with Øyvind that goes back 27 years. Listen to his solos on Kassett and Murgröna, and you’ll hear why he is one of the most melodically gifted musicians around. New arrival Ivar Grydeland brings a new twist into the string department, with highly creative guitar parts hinting towards the grittier sides of rock, while his evocative pedal steel playing adds the melancholy. Chris Holm – prior to this known mostly for supporting artists in the pop realm – anchors the band with extremely musical bass playing, covering the album with subtle yet distinctive details. “I’m so incredibly proud of this band, “ says Øyvind. “Each and everyone of them are incredible improvisers, incredible performers, incredible composers. Without them my music wouldn’t lift off the ground.”
There are also guest appearances by select musicians. Reedist Klaus Holm brings a crackling alto solo on Anti-Crime Computer in tandem with Hegdal, while pianist Guoste Tamulynaite tackles the 10-finger chords on Central Parker with ease, a duo with Emmeluth recorded straight to cell phone. Guitarist Thomas Dahl sets the tone on Triple F and brings out his inner Steve Jones on F-Punk. Skarbø’s son, Elia, makes his recording debut on the track bearing his name, whilst one of the most praised composers of contemporary classic music, Øyvind Torvund, makes a special appearance on modular synth on the closing track.
“All in all, it’s been a good DUGNAD,” says Øyvind, referring to the impossible-to-translate Norwegian word. “Everybody gave their all, despite trying times. We brought our efforts together, and out came the new album. That’s the definition of DUGNAD.”
SKARBØ SKULEKORPS (2019) Press release by Robyn Flans
Øyvind Skarbø doesn’t just think outside the box. With this drummer/composer, there is no box.
Two years ago when a member of Øyvind Skarbø’s trio 1982 decided to leave the band after 11 years, Skarbø had no idea what a gift it would end up being. At the time, the drummer/bandleader felt unsettled, but it set Skarbø on a path of re-examination and work that resulted in Skarbø Skulekorps – a seven member unit - and their first recorded outing.
The album – Skarbø Skulekorps – an ambitious nine tracks that make up a double LP (and single CD) – is a culmination of much dedication to a musician’s craft. Not held back by any constraints of musical preconceptions, Skarbø is not afraid to step off the cliff into a genre-less wonderland and take chances.
They even offers up a steel guitar solo on Pilabue (performed by Johan Lindström), supplying a moment of country comfort. But don’t get too comfortable for too long. A moment later, odd times and blaring horns escorts the steel guitar off into the sunset with a whimper.
Right out of the gate with 1-555-3327, Skarbø treats his listeners to something he’s never done on a record: vocals and lyrics! So named because the song is vaguely about inventor Nikola Tesla, known to have an obsessive-compulsive disorder around the number 3, who died in a hotel room number 3327.
The song opens with R&B horns blasts against Skarbø’s backbeat, heralding three guest singers from the popular two-time Grammy winning Norwegian folk-rock band Real Ones. On the same track, the wistful sounds of the steel guitar cry out in the background. There is also an apperance by a local marching band, leading the listener into a multi-layered musical journey.
Hiring Real Ones represented a full-circle moment for him, as Skarbø subbed with the band at 24.
“I wanted to write something more elaborate this time,” says Skarbø. He already recognized 15 years ago an urge to compose, but never took the time, or dared to commit to it. Two years ago, when 1982 folded, he had to rethink things, and instead of resigning began to invest serious study time. He spent seven months writing the material for this album. He approached it as a composer, not really as a drummer.
Notable is Lysets Hastighet, (“Speed of Light”), a track dedicated to his friend, guitarist/composer Ruben Machtelinckx with whom he’s played for a few years. On this melodic track, the drummer/composer is just holding down the fort as his players take on the spotlight. “The drums on this record is really the last thing,” he says. “I spent so much time as a composer, producer and organizing everything. As a drummer, it was like showing up at the session and I didn’t know what I was going to do.”
Don’t let him fool you – there’s some stellar drumming on the record. Take a listen to Turnamat, Farrier and the Hoof, and the backbeat and groove on Kadó.
Skarbø should be known to fans of Hubro from his four albums with the trio 1982 (with Nils Økland and Sigbjørn Apeland), as well as three recordings with the band Bly de Blyant (with Hilmar Jensson and Shahzad Ismaily). Others may know him more from the quartet Inland Empire (with Kris Davis, Fredrik Ljungkvist and Ole Morten Vågan) or as a former member of the Håkon Kornstad Ensemble.
While Skarbø made a name for himself in jazz and free improvised music, at about 29, he acknowledged he had suppressed his love of backbeat-based music and realized he had to retrain himself. (Check out some serious timekeeping on Four Foxes.) “I started woodshedding on the drums again, and I'm still working on it.” Skarbø says. "Now I've brought the same approach to composition".
Ideas for this record have been formulating for years, the musician says. Gliploss has been festering for ten years. The rhythmic tune opens with a couple of false starts with accompanying obscenities that Skarbø decided to keep.
Skarbø says the final track, 50 MB RAM, was perhaps slightly more challenging than the rest since he simultaneously contributed vocals and banjo – both firsts for him on a record. But this last tune will send you off on a spirited flight with its steel guitar, banjo strums, vocal chorus and finally the majesty of the drums.
He gives credit to engineer/mixer Jørgen Træen for the album’s sound quality, who recorded it all at Duper Studio in Bergen, Norway. The mixing process turned out to be very creative and spontaneous. “It's the first album of mine that's more produced,” Skarbø says. “In the sense that most of the other records I've done were going for a more natural, acoustic sound, on this one we took a lot more liberties in the mix. Jørgen thinks very musical, as opposed to technical, and isn't afraid to drastically change things around.”
He also gives kudos to all the players who accomplished the 3-day recording schedule with two or three take performances. They cut mostly live with a few overdubs. “They are all amazing. Everyone brought a lot to the music,” he says, adding that the diverse backgrounds of the players added a lot to his project. “Sometimes when things are as written out as this, that’s not always the case.”
For longtime followers of Skarbø, this collection will bear many delightful surprises. For those just becoming hip to this artist, welcome to a creative force that will captivate and enchant your musical imagination.
Two years ago when a member of Øyvind Skarbø’s trio 1982 decided to leave the band after 11 years, Skarbø had no idea what a gift it would end up being. At the time, the drummer/bandleader felt unsettled, but it set Skarbø on a path of re-examination and work that resulted in Skarbø Skulekorps – a seven member unit - and their first recorded outing.
The album – Skarbø Skulekorps – an ambitious nine tracks that make up a double LP (and single CD) – is a culmination of much dedication to a musician’s craft. Not held back by any constraints of musical preconceptions, Skarbø is not afraid to step off the cliff into a genre-less wonderland and take chances.
They even offers up a steel guitar solo on Pilabue (performed by Johan Lindström), supplying a moment of country comfort. But don’t get too comfortable for too long. A moment later, odd times and blaring horns escorts the steel guitar off into the sunset with a whimper.
Right out of the gate with 1-555-3327, Skarbø treats his listeners to something he’s never done on a record: vocals and lyrics! So named because the song is vaguely about inventor Nikola Tesla, known to have an obsessive-compulsive disorder around the number 3, who died in a hotel room number 3327.
The song opens with R&B horns blasts against Skarbø’s backbeat, heralding three guest singers from the popular two-time Grammy winning Norwegian folk-rock band Real Ones. On the same track, the wistful sounds of the steel guitar cry out in the background. There is also an apperance by a local marching band, leading the listener into a multi-layered musical journey.
Hiring Real Ones represented a full-circle moment for him, as Skarbø subbed with the band at 24.
“I wanted to write something more elaborate this time,” says Skarbø. He already recognized 15 years ago an urge to compose, but never took the time, or dared to commit to it. Two years ago, when 1982 folded, he had to rethink things, and instead of resigning began to invest serious study time. He spent seven months writing the material for this album. He approached it as a composer, not really as a drummer.
Notable is Lysets Hastighet, (“Speed of Light”), a track dedicated to his friend, guitarist/composer Ruben Machtelinckx with whom he’s played for a few years. On this melodic track, the drummer/composer is just holding down the fort as his players take on the spotlight. “The drums on this record is really the last thing,” he says. “I spent so much time as a composer, producer and organizing everything. As a drummer, it was like showing up at the session and I didn’t know what I was going to do.”
Don’t let him fool you – there’s some stellar drumming on the record. Take a listen to Turnamat, Farrier and the Hoof, and the backbeat and groove on Kadó.
Skarbø should be known to fans of Hubro from his four albums with the trio 1982 (with Nils Økland and Sigbjørn Apeland), as well as three recordings with the band Bly de Blyant (with Hilmar Jensson and Shahzad Ismaily). Others may know him more from the quartet Inland Empire (with Kris Davis, Fredrik Ljungkvist and Ole Morten Vågan) or as a former member of the Håkon Kornstad Ensemble.
While Skarbø made a name for himself in jazz and free improvised music, at about 29, he acknowledged he had suppressed his love of backbeat-based music and realized he had to retrain himself. (Check out some serious timekeeping on Four Foxes.) “I started woodshedding on the drums again, and I'm still working on it.” Skarbø says. "Now I've brought the same approach to composition".
Ideas for this record have been formulating for years, the musician says. Gliploss has been festering for ten years. The rhythmic tune opens with a couple of false starts with accompanying obscenities that Skarbø decided to keep.
Skarbø says the final track, 50 MB RAM, was perhaps slightly more challenging than the rest since he simultaneously contributed vocals and banjo – both firsts for him on a record. But this last tune will send you off on a spirited flight with its steel guitar, banjo strums, vocal chorus and finally the majesty of the drums.
He gives credit to engineer/mixer Jørgen Træen for the album’s sound quality, who recorded it all at Duper Studio in Bergen, Norway. The mixing process turned out to be very creative and spontaneous. “It's the first album of mine that's more produced,” Skarbø says. “In the sense that most of the other records I've done were going for a more natural, acoustic sound, on this one we took a lot more liberties in the mix. Jørgen thinks very musical, as opposed to technical, and isn't afraid to drastically change things around.”
He also gives kudos to all the players who accomplished the 3-day recording schedule with two or three take performances. They cut mostly live with a few overdubs. “They are all amazing. Everyone brought a lot to the music,” he says, adding that the diverse backgrounds of the players added a lot to his project. “Sometimes when things are as written out as this, that’s not always the case.”
For longtime followers of Skarbø, this collection will bear many delightful surprises. For those just becoming hip to this artist, welcome to a creative force that will captivate and enchant your musical imagination.
Etonnant! SILCENCEANDSOUND (FR)
Skarbø har ofte ein kompositorisk vri eller arrangementsgrep som gjer at ein er med på ferda til siste slutt. Sveineprøva er gjennomført, og Skarbø har bestått på laudabelt vis. DAG OG TID (N)
Når åpningslåten etter hvert går inn for landing i åpent frijazzlandskap, med Emmeluths beintøffe saksofon i sentrum, blir det tydelig hvilken fest dette albumet skal bli. Det oser av overskudd, det er kreativt og lekent. Hør bare på variasjonene i den deilige rekka av låter med «Farrier And The Hoof», «Lysets Hastighet» og «Kadó». Låtene sitter som et skarptrommeslag. Det er en fest av et album å flyte inn i høsten med, du skal være rimelig iskald for ikke å tine opp av Norges mest funky og jazza skolekorps. DAGSAVISEN (N)
An incredibly exciting musical project, and an even more exciting journey for the listener. It has diversity, musical madness and enormous amounts of technical proficiency. 5/6 BERGENSAVISEN (N)
Simply great! 20/20. MUSIK AN SICH (DE)
Music that is both catchy and unpredictable (..) When you think you've got it and knows where the music is heading, it just keeps surprising.NRK P3 (N)
Joyfully eclectic music to set your mind and spirit free. The force is strong with this one. An album that has repeatedly forced its way to the top of my listening pile through its downright refusal of categorisation and, more importantly, the infectious vitality of its music. HARMONIC DISTORTION
Skarbø Skulekorps is a remarkable debut, and one of the most interesting records I’ve heard this year: a record with a wide palette of sounds, styles and grooves by a group who can pull them all off. (..) The group delves into soul-jazz on "Four Foxes", where they work up a groove that would make Thundercat jealous. AQUARIUM DRUNKARD (US)
A thoroughly catchy mash-up, floating between carefull orchestration and improvised ecstasy. 5/6. BERGENS TIDENDE (N)
Fusion from another dimension or sheer mischief, 'Skarbø Skulekorps' is an unpredictable delight. ELECTRONIC SOUND (UK)
