
SuluMadiana
Nils Petter MolvĂŠr and Mino Cinelu had both come a long way in their careers before they met. Cinelu gained international renown on Miles Davisâ albums We Want Miles and Amandla, also noted for his playing with the likes of Weather Report, Gong, Herbie Hancock, Pat Metheny, Sting, Santana, Lou Reed and Laurie Anderson, to name just a few. He has also released 3 solo records and collaborated with Dave Holland and Kevin Eubanks on the World Trio album. Nils Petter MolvĂŠr, meanwhile, is one of the most outstanding figures in European jazz. In 1997, he made his debut on ECM Records with the album Khmer, combining the Nordic feeling of nature with the Southeast Asian philosophy of sound. His journey into the uncharted areas of music spans almost a dozen records, on which he explores various combinations of acoustic and electrical sounds. He collaborated with Berlinâs electronic producer Moritz von Oswald in 2013, with the reggae philosophers Sly & Robbie in 2018 and with Bill Laswell on several occasions.
Cinelu and MolvĂŠr in some senses represent two worlds, which â at first glance â could hardly be more different. Their musical home is the entire planet, but while MolvĂŠr's hoarse and cloudy trumpet sound evokes boreal cold, Cinelu stands for the rhythmic fire of Latin America and Africa. On âSulaMadianaâ, theyâve found their common playground - the albumâs title itself a tribute to the two musiciansâ heritage. Sula is the Norwegian island from where MolvĂŠr grew up, and Madiana is a synonym for Martinique, from where Cinelu's father hails.
SulaMadiana is a cornucopia, spilling out reverberations of Miles Davis, Gong, and previous works of MolvĂŠr, and yet MolvĂŠr and Cinelu open up doors to entirely new worlds. Cinelu becomes a singer on his percussion, while MolvĂŠr's electronically distorted sounds create a driving pulse. Cinelu plays acoustic guitar, MolvĂŠr conjures up drones on the electric guitar. The interplay between the two musicians is key, MolvĂŠr observing; âWe are different, but what we have in common is that we like to give some space to things. I create space for him, he creates space for me, and we both create space for music.â Cinelu adds: âIt doesn't matter who has what share in music. We both know each otherâs cultures, we find bridges and crossings, and often we walk these paths that lead in the same direction. We wrote everything together and followed our feelings. There are no limits or barriers.â
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Nils Petter MolvĂŠr and Mino Cinelu had both come a long way in their careers before they met. Cinelu gained international renown on Miles Davisâ albums We Want Miles and Amandla, also noted for his playing with the likes of Weather Report, Gong, Herbie Hancock, Pat Metheny, Sting, Santana, Lou Reed and Laurie Anderson, to name just a few. He has also released 3 solo records and collaborated with Dave Holland and Kevin Eubanks on the World Trio album. Nils Petter MolvĂŠr, meanwhile, is one of the most outstanding figures in European jazz. In 1997, he made his debut on ECM Records with the album Khmer, combining the Nordic feeling of nature with the Southeast Asian philosophy of sound. His journey into the uncharted areas of music spans almost a dozen records, on which he explores various combinations of acoustic and electrical sounds. He collaborated with Berlinâs electronic producer Moritz von Oswald in 2013, with the reggae philosophers Sly & Robbie in 2018 and with Bill Laswell on several occasions.
Cinelu and MolvĂŠr in some senses represent two worlds, which â at first glance â could hardly be more different. Their musical home is the entire planet, but while MolvĂŠr's hoarse and cloudy trumpet sound evokes boreal cold, Cinelu stands for the rhythmic fire of Latin America and Africa. On âSulaMadianaâ, theyâve found their common playground - the albumâs title itself a tribute to the two musiciansâ heritage. Sula is the Norwegian island from where MolvĂŠr grew up, and Madiana is a synonym for Martinique, from where Cinelu's father hails.
SulaMadiana is a cornucopia, spilling out reverberations of Miles Davis, Gong, and previous works of MolvĂŠr, and yet MolvĂŠr and Cinelu open up doors to entirely new worlds. Cinelu becomes a singer on his percussion, while MolvĂŠr's electronically distorted sounds create a driving pulse. Cinelu plays acoustic guitar, MolvĂŠr conjures up drones on the electric guitar. The interplay between the two musicians is key, MolvĂŠr observing; âWe are different, but what we have in common is that we like to give some space to things. I create space for him, he creates space for me, and we both create space for music.â Cinelu adds: âIt doesn't matter who has what share in music. We both know each otherâs cultures, we find bridges and crossings, and often we walk these paths that lead in the same direction. We wrote everything together and followed our feelings. There are no limits or barriers.â











