Joni Mitchell Cloud

Thomas Dybdahl went out to become somewhat of a shooting-star in Norway. As a solo artist, the former guitarist of the band Quadraphonics released his first single EP, Bird, in 2000. His first release did not yield much success, and his second EP from 2001, John Wayne, was also unsuccessful.His single Damn Heart, written for the Danish movie En Soap, was released in 2006 on Copenhagen Records.In 2007, he performed as an opening act in the USA for fellow Norwegian artist Sondre Lerche, and in 2011, he opened for Tori Amos during her Night of Hunters tour.On April 22, 2013, his single "Man On a Wire" was released as the first single from his album What's Left is Forever.

The Claudia Quintet - I, Claudia (2003) {Cuneiform Records ‎Rune 187}
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© 2003 Cuneiform Records ‎| Rune 187
Jazz / Avant-Garde Jazz / New Chamber Music / Modern Creative / Drums

This second release from the Claudia Quintet (and their first on the Cuneiform label) not only offers Claudia's great blend of instrumental textures from tenor sax/clarinet, vibraphone, accordion, acoustic bass, drums, and percussion, but also provides a satisfying stroll among multiple musical genres. Drummer John Hollenbeck is the group's composer, and his clever pieces move effortlessly from funky chamber jazz to minimalism (both rhythmic and ambient), with some African elements and "new music" vocabulary thrown in for good measure. A good example of Hollenbeck's eclecticism (one of many) would be the piece "…Can You Get Through This Life With a Good Heart?," which was inspired by a quote from Joni Mitchell in a PBS documentary. It opens, in Hollenbeck's words, with "the harmonic clouds and space of Morton Feldman," which eventually give way to a pensive folk melody stated by accordion and vibes.

Mathias Eick follows up his melodically charged leader debut, 2008’s The Door, with something delectable. This time he fronts an expanded, smoother band that includes saxophonist Tore Brunborg within a nest of Scandinavian talent. Ever at their center is Eick, whose threefold role as composer, performer, and arranger takes on fuller idiomatic body.
Skala shares key aspects with its predecessor. It is another set of eight originals, which too can be divided into three acts of two, three, and three scenes, respectively. Act I likewise opens with the title track and, like its earlier counterpart, only seems to grow more translucent as instruments are added. Yet the similarities end there, for the music is something else entirely. Here is a musician who not only has listened deeply to others on the path to enriching his compositional breadth…