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HEIDI KVELVANE
Travelling Saxophones
The first time I heard the young saxophonist Heidi Kvelvane was at the improv festival Tedans (Tea Dance) in Bergen, a couple of years ago. It was saxophonist Frode Gjerstad who told me to listen to her. When she stood on stage with bassist Ola Høyer and drummer Øyvind Hegg-Lunde, in a free and loose set, I was convinced. What a young musician! Her tone on the alto saxophone was powerful, energetic and tough, and in the improvisations, she sounded considerably more mature than her 23 years, as she was at that time.
I wrote the following in Salt Peanuts about her act afterwards: “I predict a great future for her within improvised music in Norway. (…) This was a freely improvised set, where we particularly noticed Kvelvane’s fine alto saxophone tone, which was a bit like hearing Frode Gjerstad some years ago. Sharp on the edge, and with a lovely phrasing and ability to tell good stories, both in ensemble improvisations and in solos. (…) The big positive surprise of the evening, and maybe of the festival! »
After the concert, she told me that she was planning to move to Voss – a couple of hours’ drive eastwards into the mountains and valleys beyond Bergen, and the place where I had chosen to settle down after living seven years in Copenhagen. With that, we also had the opportunity to meet more often, after all, there aren’t too many jazz enthusiasts living in this village, even though they have their own jazz festival, Vossa Jazz, a festival that has existed for more than 50 years.
Background
Heidi Kvelvane is now 25 years old and was born and raised in Sandnes – southeast of Stavanger. She has a saxophone education from the jazz department at the Grieg Academy in Bergen, where she graduated in the spring of 2023. She is now based in Voss, where she makes a living by touring, playing her saxophones, while also playing folk music on the accordion.
In 2022/23, she also played in around 80 performances of the musical Lazarus with music by David Bowie at Den Nasjonale Scene (The National Scene) in Bergen. She has played several church concerts with organists and has played both concerts and dance music as a folk musician. However, it is as a free jazz musician that she has distinguished herself on the Norwegian jazz and improv scene in recent years. This has led to several international concerts and tours, where she has collaborated with musicians such as Barry Guy, Terrie Ex, Han Bennink, Paal Nilssen-Love and Bugge Wesseltoft. She is also known from the Vestnorsk Jazz Ensemble, Paal Nilssen-Love Large Unit, Bergen Big Band, Kitchen Orchestra, as well as her folk music duo project Bankvelv, her own quartet and even two trios in her own name.
From school band to ?
At Voss she lives in a caravan, mostly because she does not want to own too much, but also because she travels a lot, and does not need or want too many «worldly goods», as she describes it, nor a large space. At Voss, the local jazz club has brought her into their board, and the club has also engaged her in projects with one of her trios and a workshop project with students at the village’s secondary school.
We meet her at a café in Voss one morning, when she’s at home for a short while, between gigs in Belgium and concerts with the Bergen Big Band. She says that, like most other Norwegian jazz musicians, she started in a school band, in her case with a clarinet. After a couple of years, the band needed a saxophonist, and she seized the opportunity and became the band’s only saxophonist. In secondary school, she had saxophonist Tor Ytredal as her music teacher. She says that without him, she probably never would have become a jazz musician. She then studied at the Grieg Academy in Bergen for four years, but much of that time was during the corona pandemic, which she believes was good for her in many ways. She had a lot of time to practice, and it opened up a number of playing assignments as a substitute, since musicians could not be hired from the outside.
In her second year at the Academy, Paal Nilssen-Love had a project there. After they met there, he asked if she wanted to come to Stavanger to take part in something called Jazzkappleiken. Here she played with, among others, saxophonist Kristoffer Alberts, and later with fiddle- and violin player Nils Økland and organist Nils Henrik Asheim. With that she was ‘lost’ she says and taken by the free improvisation and free jazz.
Why Voss?
During the corona period, she heard accordionist Nils Asgeir Lie from Voss, giving a concert at the Grieg Academy, which inspired her greatly. She immediately wanted to learn to play the accordion, and she moved to Voss. She tells me that she had no previous relationship with the instrument, other than that it was an instrument she thought was only used to play «gammeldans” (old folk dances). But then she discovered that a modern accordion had much greater possibilities than the regular accordions used in these contexts. You can play more intricate melody lines, with greater intensity and variation. The concert with Nils Asgeir Lie really opened up her interest in the accordion. She went ahead, buying an accordion and learning the art of playing it.
Accordion and free jazz?
– I think the reason I like both playing free jazz on the saxophone and folk music on the accordion, is because I’m a bit restless and unsettled – I need both, she says – I enjoy the togetherness and community that arises when you improvise freely on the stage. But when I have been doing a lot of free improvisation, I very often long for something else, something more classically structured. So, I need both, really.
We’re talking for a long time about her unsettledness. Playing folk music on the accordion, free improv on the saxophone, relatively straight music in a big band, and her love for (the freedom in) free jazz. And in addition, she often plays in the orchestra at the theater Den Nasjonale Scene in Bergen. She tells me that she wants to try out several genres before she decides which musical path she wants to take. She agrees that she moves freely between many genres. But nevertheless, she feels that she belongs most in improvisational music and jazz. Even though the reason why she ended up there was really a coincidence. – I never thought I would be good at exactly this or that, … it just happened that way, she says.
Inspirations
She says that she has been inspired by many jazz musicians. Lately she has been listening a lot to the German saxophonist Daniel Erdmann, and she has been listening a lot to a record with the Polish saxophonist Angelica Niescier, The Norwegian drummer Paal Nilssen-Love and the bass player Ingebrigt Håker Flaten have obviously featured prominently in here listening habits. But there are no single records that have become regular, that she listens to a lot. I prefer to hear the music live, she says. But the record Soapsuds, Soapsuds with the Ornette Coleman and Charlie Haden duo from 1977, is, nevertheless, an exception.
She says that she personally likes the duo and trio formats best. In many ways she feels that she knows the clarinet the best, but she works hard with both the alto and tenor saxophone. But the sound of the clarinet is too «flat», according to her. For a long period, when she was becoming more interested in the alto saxophone, many alto saxophonists she listened to didn’t sound good, she told me.
– Then I worked a lot on getting a “fatter” sound in the horn, by experimenting with mouthpieces and reeds, and I even used tenor reeds on the alto, to achieve a sound I liked better.
As for her tenor saxophone playing, for a long period she almost didn’t dare to play the tenor saxophone, because there were so many incredibly talented tenor saxophonists. It’s only in the last year that she has started to focus seriously on the tenor.
Before she have to run to catch the train to Bergen for a gig(?), we talk a little about why there are so many talented Danish female alto saxophonists, but almost none from Norway. But then we agree that this is completely okay: Most of the Danish alto players have moved to Norway anyway. Personally, I think there is and should be room for both Mette Rasmussen, Signe Emmeluth, Amalie Dahl and Heidi Kvelvane in the rich flora of incredibly exciting, improvised saxophone music from the many young, female saxophonists living in Norway.
Este artículo se publica simultáneamente en las siguientes revistas europeas, en el marco de «Groovin’ High», una operación para destacar a las jóvenes músicas de jazz y blues : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) y Donos Kulturalny (PL).
This article is co-published simultaneously in the following European magazines, as part of « Groovin’ High » an operation to highlight young jazz and blues female musicians : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) and Donos Kulturalny (PL).
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