People, Places, Times & Faces
with Trine-Lise Væring + 9, recorded 1992 (Storyville Records stcd 4184)
1. A Shadow With No Name
2. People, Places, Times and Faces - part one
3. part two
4. part three
5. part four
6. part five
7. part six
8. Epilogue
9. Finally
10. And Off They Went
11. Afterthought
Music composed and arranged by Lundin with lyrics by Væring (except # 10 by Knudsen, Danielsson and Kleive)
Trine-Lise Væring – vocals
Lundin – saxophones and flute
Kenneth Knudsen – synthesizers
Palle Danielsson – bass
Audun Kleive – drums
Lars Vissing – trumpet
Ture Larsen – trombone
Frederik Gislinge – oboe
Henrik Sveidahl – clarinet and bass clarinet
Monica Bauchwitz – violin
Mats Olofsson – cello
In the 6-part suite, “People, Places, Times and Faces”, I take the suite form I used on “The Cycle”even further. To quote from my liner notes:
“At times I deliberately let melody and harmony go their separate ways so as to create, by way of dissonance, a richer and more ambiguous sound.(...)The use of a large band and the suite form intensifies the sense of relief when the structure i broken by improvisation. In being based more or less on the first theme the songs of the six parts and the epilogue are all interrelated as far as theme and harmony are concerned, and all but one are related to the same asymmetrical 6-tone scale”.
This whole album is Trine-Lises and my most ambitious project to date. We wrote 70 minutes of new words and music, gathered 11 musicians (including ourselves) from 4 different countries, rehearsed for a few days and recorded the whole thing in two, and then played a concert with the Danish Radio broadcasting. Trine-Lise often admits how impressed she was with my being able to direct the whole recording session of this rather difficult music and at the same time actually be able to play some mean saxophone.
This was my first meeting with the phenomenal Norwegian drummer Audun Kleive, and we instantly hit it off musically. Working with the great Kenneth Knudsen was a huge inspiration, and my later collaborations with him (on his “Sounds and Silence”for instance) has been of great importance to my developing sense of aesthetics in music.