All About Jazz lui consacre un article (écrit par John Kelman) sur sa carrière et son anniversaire
Sidsel Endresen @ 60: Oslo, Norway, November 8-9, 2012
“Sidsel always sings the skin off my body. -- Nils Petter Molvær”
Sidsel Endresen @ 60: A Special Birthday Celebration
Nasjonal Jazzscene Victoria
Oslo, Norway
November 8-9, 2012
Nasjonal Jazzscene Victoria
Oslo, Norway
November 8-9, 2012
Turning 60 can mean different things to different people: for some, it's a time to think about slowing down, and for others, it's a time to kick into higher gear. In the case of jazz and improvising musicians, age seems to do nothing but accelerate their activities; just look at artists like guitarist Bill Frisell, saxophonist Evan Parker and pianist Chick Corea, three musicians who are not only touring and recording at an accelerated rate but who are, in the process, delivering some of the best music of their careers.
Norwegian singer Sidsel Endresen may not appear to be as busy as any of these better-known musicians, though she has begun to ramp up on recorded appearances, with her potent collaboration with improvising duo Humcrush, Ha! (Rune Grammofon, 2011), and her first recording with guitarist Stian Westerhus, the equally powerful and out-of-the-boxDidymoi Dreams (Rune Grammofon, 2012) released within months of each other, along with a significant role on Punkt Festival co-artistic directors Jan Bang and Erik Honoré's transcendent Uncommon Deities (SamadhiSound, 2012).
However, Endresen has made clear in the ensuing decades since bursting onto the Norwegian scene in the early '80s—with the Jon Eberson Group, where she became a true pop star with the hit single "Jive Talking"—that, more important than her recorded output, her purpose in life is considerably less ostentatious but far more ambitious. Beginning with two sublime recordings for ECM—1990's So I Write and 1994's Exile, featuring other stars on the rise including trumpeter Nils Petter Molvær, pianist Django Bates and keyboardistBugge Wesseltoft alongside label-stalwart drummer Jon Christensen—Endresen began asserting herself as a more experimental singer (albeit one still committed to melody) and a profound wordsmith. With her three subsequent duo recordings with Wesseltoft, Nightsong(Curling Legs, 1994), Duplex Ride (ACT, 1998) and Out Here. In There (Jazzland, 2002), Endresen commenced embracing the seamless electronic integration that had begun to define a second wave of young Norwegian musicians also including trumpeter Arve Henriksen, keyboardist Ståle Storløkken, guitarist Eivind Aarset and percussionist Thomas Strønen, though her own instrument remained steadfastly acoustic.
Following Endresen's last great collection of "real" songs, on 2000's Undertow (Jazzland) she began to more decidedly pursue the use of voice as a textural instrument—capable of integrating more deeply with a band rather than leading it—on tracks like Duplex Ride's "Six Minutes or So." It was here that her investigations into small vocal cells to ultimately create a new language known only to Endresen began. The improv-heavy Merriwinkle (Jazzland, 2003), a trio recording with keyboardist Christian Wallumrød and sound sculptor Helge Sten (also a member of groundbreaking noise-improv group Supersilent), is Endresen's first recorded example of a move away from conventional singing towards a personal approach that has its precedent, to some degree, in Meredith Monk's vocal innovations, but more in spirit than in actual approach and execution. A decade on, there's no doubt that Endresen sounds like nobody else—and nobody else sounds like Endresen.
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