Solo double bass

Minimalistic soundscapes of rare beauty, in which both Norwegian folk music and classical minimalism serve as important influences, are the trademarks of Sigurd Hole´s solo work. Soft, airy arco whispers create wonderous melodies and hazy clouds of overtones, while rapid string-crossings and dancing pizzicato movements turn into subtle beats and grooves. The range of dynamics explores the whole spectrum of the double bass, from the almost inaudible, trickling of soft summer rain, to deep, roaring claps of thunder.

Currently I am working on a new solo bass album related to the Interobjective soundscapes project.

Read more here.

ELVESANG

The solo double bass album Elvesang (2018) was Sigurd Hole´s first release as a solo artist. Elvesang recieved good reviews both in Norwegian and international media such as The New York Times, AllAboutJazz and Jazznytt (NO).

Album liner notes

“Elvesang was recorded in July 2016, in Ytre Rendal church. Surrounded by farmland, the old wooden church built in 1751 is situated near lake Lomnessjøen close to where I grew up in Ren­dalen, Norway.

The album consists of 12 improvised pieces built upon a varying degree of pre­composed modules and more abstract musical ideas. Improvisation, to me, is about presence and listening. About be­ ing open to one’s surroundings allowing the smallest changes to lead your attention in new directions, whilst at the same time being able to follow your own intentions even though you might be tempted not to. Playing solo, this interaction is seemingly be­ tween the self­created sound, and silence. But it can also involve other sounds that might happen to arise. This phenomenon mani­fested itself beautifully on several occasions during the record­ing of Elvesang. Throughout the album different sounds from the natural surroundings of the church can be heard, such as the sound of sudden thunder, the singing of birds, or the soft trickling of warm summer rain on the roof. Instead of being interruptions (apart from the thunder coming a little too close on one occasion leading us to hastily unplug the recording equipment), they felt almost like fellow “musicians” giving me something to interact with every now and then.

I believe music can be found almost anywhere, in any sound, if we really listen. And this conscious act of listening might be one of the most vital human faculties to help us overcome the dif­ferent challenges of today. It is my hope that the practice of listening consciously to music, with an open mind and keen ears, may inspire us to listen more carefully to all our surroundings: to each other, to nature, and to ourselves. Maybe, if we listen deeply enough, we will hear the echo of a quiet, bright reedsong.”

All day and night, music,

a quiet, bright

reed song. If it

fades, we fade.

-Rumi

LYS / MØRKE

In February 2020 came the monumental Lys / Mørke, a solo bass double album close to 80 mins long recorded at The Arctic Hideaway on the archipelago of Fleinvær in Northern Norway. Lys/Mørke may in many ways be seen as a response to the climate and ecological crisis, focusing on the conscious act of listening to the natural world. The album was premiered in Weill Recital Hall at Carnegie Hall (NYC) on February 3rd 2020 and received world wide critical acclaim.

Excerpt from album Liner Notes:

“Immediately upon arrival I could feel the profound stillness of the island welcoming me back. Nearly two years had passed since my week-long visit in October 2017. The Arctic Hideaway is a remarkable place situated on a small island of the Fleinvær archipelago outside Bodø in Northern Norway. Built in a way that makes it feel almost like part of the natural surroundings on the island, The Arctic Hideaway erases the physical boundaries between outside and inside. Being here offers a unique kind of quiet isolation in combination the raw force, and the beauty, of nature. Winds of the Northern Atlantic Ocean sweep restlessly across the island all year round, getting stronger in early autumn as can be clearly heard throughout the album. In addition to the rapidly transforming weather conditions, the changes of natural light on the island—both in short term cycles during the day and long term cycles during the year—adds both colour and depth to the experience of living with nature.

As with my first solo double bass album "Elvesang"—which was recorded in an old wooden church close to where I grew up—the location of the recording has been of great importance to the musical output also on "Lys / Mørke". During my stay on Fleinvær in 2017 I spent countless hours walking around the island, photographing and filming different both natural and human made phenomena. I recorded several free improvisations while watching these photos and videos, making a kind of improvised music videos. These audiovisual sketches served as an important inspiration for the music on "Lys / Mørke". The music, even though inspired by many of these ideas, is to a large extent freely improvised. The two title tracks for example, both of them three piece cycles, are all free improvisations recorded in succession as they appear on the album.”

From the premier of Lys/Mørke, Weill Recital Hall at Carnegie Hall, February 3rd 2020.

Photo by Bart Babinski