Arabesque Caecilie Norby & Lars Danielsson
- 1The Dead Princess04:08
- 2Wholly Earth04:27
- 3No Air03:58
- 4No Phrase04:18
- 5Bei mir bist du schoen03:38
- 6The Tears Of Billie Blue05:30
- 7Woman Of Santiago03:39
- 8Pavane Opus 5004:39
- 10I Will Say Goodbye03:47
- 11Simple Theme04:24
- 12Hvirvelvinden/ The Windmills Of Your Mind03:35
- 13Forever You04:36
- 15How Oft03:00
Info for Arabesque
Caecilie Norby is one of the best living danish jazz singers-11 nominations for 'Danish Vocal Jazz Album of the Year'. In 'Arabesque', her debut with ACT, she returns to her classical roots. She wrote both the music (some of it together with her husband, bassist Lars Danielsson who is also the producer of her albums) and the texts for most of the 15 tracks of the album, based on classical themes by Ravel, Faure, Satie, Rimsky-Korsakov, Debussy in addition to some tracks composed by Michel Legrand , one Abbey Lincoln song (Wholly Earth) and one composition by her father. As expected, 'Arabesque' is a marvelous blend of classical and jazz, played with great skill by some of the best artists in european jazz Lars Danielsson, Bugge Wesseltoft, Katrine Gislinge (piano), Ulf Wakenius, Palle Mikkelborg, Hans Ulrok and Anders Engen. Melodic, original (just listen to the funky swing interpretation of 'Bei mir bist du schoen'), elegant, slow, melancholic music played with great talent.
Caecilie Norby, vocals
Lars Danielsson, bass, cello, git, organ
Bugge Wesseltoft, piano, synth
Katrine Gislinge, piano
Ulf Wakenius, guitar
Palle Mikkelborg, trumpet
Hans Ulrik, flute & bass-clarinet
Anders Engen, drums & percussion
Xavier Desandre-Navarre, drums & percussion
Produced by Lars Danielsson and Caecilie Norby
Recorded at Bugges Room by Bugge Wesseltoft, Focus Studios by Hans Nielsen, Tia Dia Studios by Bo Savik and Lars Danielsson
Mixed and mastered at Nilento Studios by Lars Nilsson
Musical pigeonholes have never interested Danish singer Cæcilie Norby: “I have always been in search of catchy melodies – if you want to have a hit in the pop world, you need a strong melody. In jazz the central subject is that which opens a piece and, in classical music, even the grandest orchestral arrangements may become boring and flat if they aren’t carried by a natural melody.” For Norby it is the melody that is the essence of music, and the decisive criteria according to which she evaluates and chooses music which is free of any genre boundaries. It is an approach which mirrors her extraordinary career and is probably also the secret of her success.
As the daughter of classical musicians – her mother, Solveig Lumholt, was an opera singer and her father, Erik Norby, was a composer – it was the discovery of jazz with its bluesy, swinging and cool moments which brought the decision to follow in her parents’ footsteps. A short while later, whilst still a teenager, she got caught up in the maelstrom of rock and pop music with its raw energy and catchy tunes. As a traveller between these different musical worlds she quickly made a name for herself, beginning with her funk jazz band “Frontline” which won all the Danish jazz awards going in the early Eighties. She then went on to form the pop duo “One Two” with Nina Forsberg, selling a quarter of a million albums in Denmark alone.
Norby is probably the most important figure in Scandinavia to bridge the gap between pop and jazz, which led to her paving the way for colleagues such as Rebekka Bakken, Silje Nergaard and Viktoria Tolstoy. She was the first Scandinavian artist to be signed up to the legendary Blue Note label where she recorded four highly acclaimed and best selling albums. Cæcilie Norby has also worked with many international stars in different genres, from Bugge Wesseltoft (another Scandinavian authority on stylistically open jazz which reaches a wide audience) to Billy Hart, Mike Stern, Chick Corea and Kurt Elling. The most important of these is bassist Lars Danielsson who not only became her husband but also producer and partner on almost all her projects.
However, Norby doesn’t only find jazzy sounds in classical melodies – the reverse is also true. On two songs she impressively shows what a “classic” Michel Legrand is, whom she regards as the “most melodic European composer of all times.” The swing standard “Bei mir bist du schoen“ is also transformed into a rousing funk track not least thanks to Wesseltoft’s electronic accompaniment. Norby also includes an unsentimental hymn to “Wholly Earth” by Abbey Lincoln who she greatly respects - although she was unaware of this at the time, the song became a posthumous tribute.
As usual, Norby is accompanied by a hand-picked troop of brilliant musicians besides Danielsson, Wesseltoft and Gislinge, ACT guitar star Ulf Wakenius, trumpeter Palle Mikkelborg, flutist Hans Ulrik as well as drummer and percussionist Anders Engen and Xavier Desandre-Navarre; like her, all fans of great melodies. This is also why “Arabesque” has this immense potential for gaining many enthusiastic followers – not only lovers of classical music, jazz or pop, but also all those who simply love good tunes.