#Royal Danish Orchestra

[donospl]

JAZZOWE REKOMENDACJE: “Bill Evans - Treasures: Solo, Trio and Orchestra Recordings from Denmark (1965-1969)”

Elemental Music, 2023 Odnalezione, niepublikowane wcześniej nagrania kultowych Artystów, długo jeszcze budzić będą zainteresowanie. Szczególną gratką są i pozostaną dla kolekcjonerów. Jednym z muzyków, którego nowa-stara muzyka nadal fascynuje jest Bill Evans. Ostatnio wiele z takich edycji przygotowywanych jest z myślą o Record Store Day i oferowanych (oczywiście !!!) na winylu. Nie inaczej…

[opera-ghosts]

OTD in Music History: Composer, conductor, and violinist Niels Gade (1817 – 1890) dies in Copenhagen. Although largely (and unjustly) forgotten today, Gade was an important musical figure in his day, and is generally considered to be the greatest Danish composer before Carl Nielsen (1865 – 1931). Gade began his illustrious career as a violinist with the Royal Danish Orchestra – but when the first performance of his first symphony faced delays in Copenhagen, he opted to send the score off to Felix Mendelssohn (1809 – 1847), instead. Mendelssohn premiered it in Leipzig to an enthusiastic public response, and, in the wake of that success, Gade quickly relocated to Leipzig where he taught at the Conservatory, served as an assistant conductor of the Gewandhaus Orchestra, and befriended both Mendelssohn and Robert Schumann (1810 – 1856). A highly accomplished conductor, Gade had the honor of holding the baton at the world premieres of Mendelssohn’s Violin Concerto (1844) and Schumann’s Piano Concerto (1845) -- with Clara Schumann (1819 - 1896) appearing as the soloist in the latter. Counted among Gade's own original works are eight symphonies, a violin concerto, and a wide array of attractive chamber music, as well as many pieces for solo piano and solo organ. PICTURED: A cabinet photograph showing the elderly Gade, which he signed and inscribed to an old friend in September 1886. In addition to writing out his name in the traditional manner alongside a warm message of friendship, Gade has also penned a clever “musical signature” (the notes G-A-D-E spelled out on the treble clef) and included a reference to their “mutual friend” “Mendelssohn” (who had already been dead for nearly 40 years at that point!) and “the many good times shared in Leipzig."

[paul-archibald]

The Elements: Wind

Crucial to our existence, Air is ever-present yet impossible to see. Its energy can cause rapid change such as shifts in the wind’s direction and fluctuations in temperature. Air is essential to life because it contains oxygen, but it also has destructive attributes when storms are created. Wind and turbulence has excited composers over the centuries and inspired them to compose some of the most…

[fieldtomatoes]

"Plumage flowing in elegant symmetry, the celebrated Royal Danish Ballet performs Tchaikovsky's Swan Lake. Ballet, opera, drama, and the Royal Orchestra thrive under the financial umbrella of the state-owned Royal Theater in Copenhagen.

National Geographic - February, 1974

[thefutureiswhat]

Thoughts on Fargo 5.9

I rewatched the movie right before this episode aired, and that was the best decision I've ever made in my life.

"I..." "Yes. Eye." AHHHHH!

The Leftovers music when Dot gets the handcuff off! Resurrection was a big motif on that show... I was wrong, it's "Orchestra for Nikki"... which always reminds me of The Leftovers in Season 3, especially because it plays over Carrie Coon.

I love Lorraine's outfit this episode.

"Tell Jerome to call the orange idiot" followed by "YMCA"... This show isn't afraid to be totally bonkers and I love it for that.

Dorothy going into the cellar... which is what she DIDN'T do in The Wizard of Oz.

"Daddy's phone" Aww, I missed those two last week!

Welp, my Danish's phone theory didn't pan out... oh, well.

That was Chekhov's explosion... this ranch is going kaboom.

Roy not giving a single shit that his wife is unconscious on the bedroom floor. What a guy.

"Marco..." You're no Rabbi Milligan.

So Munch totally brought that fog to the ranch, right?

Lorraine calling Dot her daughter 😭

Lorraine looked like she was about to break down after Indira hung up... let Lorraine Lyon cry!

Now every time I hear "Rye's Theme" I'm like, who's about to royally fuck up?

It wouldn't be a season of Fargo without two jurisdictions bickering

"About 40 guys" Wow... impressive.

I kinda wish all the promos hadn't spoiled the Gator stuff. Weird that this season teased SO MUCH from the last few episodes.

"This story will not end..." I became the Leo pointing meme.

"Don't shoot the hostage, clear?" Tell that to Duluth PD...

"The tiger can come out now..." I APPLAUDED!!!

The way we all knew from episode 1 this was coming. And it was so satisfying!!!

Pull Jean out of her grave, Gaear! Pay that debt!

The two of them standing there basically wearing each other's clothes... chef's kiss.

WHY DO I HAVE TO WAIT A WEEK!!!

[lesser-known-composers]

Peter Erasmus Lange-Muller (1850-1926) - Peter Plus, Op. 42: Rosens elskov

Artist: Ditte Andersen

Choir: Copenhagen Royal Naval Choir, Conductor: Adam Fischer

Orchestra: Danish Radio Sinfonietta

[justforbooks]

If anybody deserved the title of “Renaissance man” it would be Carl Davis, who has died aged 86 following a brain haemorrhage. A formidably gifted composer and conductor, in a career spanning seven decades he wrote scores for a string of successful films and a long list of some of the best remembered programmes on British television, including the 1995 BBC production of Pride and Prejudice.

Davis won a Bafta and an Ivor Novello award for his score for Karel Reisz’s The French Lieutenant’s Woman (1981), scripted by Harold Pinter and starring the Oscar-nominated Meryl Streep, and worked on many other prominent films, including Scandal (1989), starring Ian McKellen and Joanne Whalley, Ken Russell’s The Rainbow (1989) and The Great Gatsby (2000). His theme music for the 1984 horse-racing drama Champions, starring John Hurt as the Grand National winner Bob Champion, was subsequently used by the BBC for its Grand National coverage.

A fascination for the era of silent movies prompted Davis to create new scores to accompany numerous classics from cinema’s early years, including his composition for Abel Gance’s sprawling 1927 epic, Napoleon. His work helped trigger an international revival of presentations of silent films with a live orchestra.

He achieved another career highlight when he collaborated with Sir Paul McCartney on his Liverpool Oratorio, an eight-movement piece based on McCartney’s experiences of growing up in Liverpool. The piece was recorded in Liverpool Cathedral in 1991, featuring the classical soloists Kiri Te Kanawa and Willard White.

Despite his relentless schedule and prolific output, Davis enjoyed a reputation as an expansive and witty conversationalist who could always make time for friends or interviewers. When conducting at occasions such as the Royal Liverpool Philharmonic’s Summer Pops concerts or the BBC’s Proms in the Park, he would gently subvert notions of classical seriousness by conducting in a union jack outfit or a gold lamé coat.

Born in Brooklyn, New York, Carl was the son of Sara (nee Perlmutter), a teacher, and Isadore Davis, a post office worker. His Jewish family had ancestry in Poland and Russia. Encouraged by his mother, he displayed precocious musical ability. He started playing piano at the age of two, and soon became an adept sight-reader. He recalled how from an early age he would listen to the Metropolitan Opera’s live radio broadcasts on Saturday afternoons, and he would obsessively study musical scores of operas and orchestral pieces obtained from Brooklyn’s public libraries.

He took lessons with the composers Hugo Kauder and Paul Nordoff (later the co-founder of the Nordoff-Robbins music therapy programme), then with the Danish modernist composer Per Nørgård in Copenhagen. He studied at Queens College, New York, and the New England Conservatory of Music, Boston, and as an 18-year-old served as an accompanist to the Robert Shaw Chorale. He then attended Bard College in Annandale-on-Hudson in upstate New York, which has had a remarkable roll-call of actors, writers, film-makers and musicians pass through its portals. He graduated from Bard as a composer, having already begun to compose music for theatrical productions.

In 1958 he became an assistant conductor at the New York City Opera, and then won an off-Broadway Emmy award as co-composer of the 1959 revue Diversions. This was staged at the Edinburgh festival in 1961 and subsequently transferred to the Arts theatre in London, retitled Twists. It caught the eye of Ned Sherrin, then working in production at the BBC. He commissioned Davis, who had moved to London and was living in decrepit lodgings in Notting Hill, to write music for the satirical TV show That Was the Week That Was.

It was the start of his prolific and varied career in the UK. The Davis touch added lustre to the television movies The Snow Goose (BBC, 1971) and The Naked Civil Servant (Thames Television, 1975); the adaptation of the Anita Brookner novel Hotel Du Lac (BBC, 1986); and the miniseries A Year in Provence (BBC, 1993) and A Dance to the Music of Time (Channel 4, 1997) among many others.

A notable milestone was his ominous and unsettling score for Thames’s The World at War (1973), which was produced by Jeremy Isaacs. It was through Isaacs that Davis became involved in the Thames TV series Hollywood: A Celebration of the American Silent Film, based on the book The Parade’s Gone By … by the film historian Kevin Brownlow.

Davis was tasked with tracking down musicians who had worked on films during the silent era, and the series set him off on a decades-long crusade to revive silent films with newly created scores. He enjoyed the challenge of conducting the music live as the film played. “You have to keep going,” he told the Arts Desk’s Graham Rickson in 2021. “Some conductors use click tracks and headphones. I’m old-fashioned and don’t like being tied to machinery – I try to conduct these things with as little apparatus as possible.”

The most dramatic expression of this was his work on Napoleon, and in 1980 Davis conducted a performance of it with an orchestra and audience at the Empire, Leicester Square. “That first screening wasn’t flawless, but it was electrifying,” he recalled. He subsequently conducted performances around the world, and the score let to him being appointed chevalier of France’s Ordre des Arts et des Lettres in 1983.

He went on to compose music for more than 50 silent films featuring stars such as Greta Garbo and Rudolph Valentino, for comedies by Charlie Chaplin, Harold Lloyd and Buster Keaton, and for classics such as Ben-Hur (1925), the Douglas Fairbanks swashbuckler The Thief of Bagdad (1924) and DW Griffith’s Intolerance (1916).

Another genre which Davis excelled at composing for was dance. “The relationship between film and ballet is striking, and I find myself composing more and more ballet scores now, something which the film work has made me much better at,” he told Rickson. For Northern Ballet theatre, he worked with the choreographer Gillian Lynne on A Simple Man (1987) and Lipizzaner (1989). For Scottish Ballet, he collaborated with Robert Cohan, a fellow New Yorker, on A Christmas Carol (1992) and Aladdin (2000). And for English National Ballet’s Alice in Wonderland (1995), Davis (commissioned by ENB’s artistic director Derek Deane) drew on themes by Tchaikovsky.

It was also through Deane’s influence that Davis was commissioned by the National Ballet of Croatia to write Lady of the Camellias (2008), which gave him the opportunity to revisit Alexandre Dumas’s original novel and Verdi’s operatic version of it, La Traviata. The opera had been a favourite of Davis’s since his childhood days of listening to Met broadcasts, and he had also worked on a production of it for New York City Opera. The resulting piece gave the story a contemporary twist, so “the action could flow without pause and indeed the production did effectively utilise projections and film”, as Davis wrote in the recording’s sleeve notes.

He received a Bafta special lifetime achievement award in 2003, and in 2005 he was made CBE.

In 1970 he married the actor Jean Boht, who starred in Carla Lane’s sitcom Bread. She survives him, along with their daughters, Hannah and Jessie.

🔔 Carl Davis, composer and conductor, born 28 October 1936; died 3 August 2023

Daily inspiration. Discover more photos at Just for Books…?

[roelof]

Pit - Bobbi Jene Smith and Or Schraiber

With a modern and figurative stage set, intertwining Sibelius' Violin Concerto with a musical creation by Celeste Oram, Pit takes the audience into a sensual, tribal and dramatic universe.

Both trained at the Batsheva Dance Company under Ohad Naharin, Bobbi Jene Smith and Or Schraiber present Pit, their first creation for the Paris Opera Ballet.

Born in Iowa, Bobbi Jene Smith joined Batsheva in 2005. In 2014, she embarked on a career as a choreographer, creating works for the Martha Graham Dance Company, the L.A. Dance Project and the Royal Danish Ballet. Born in Israel, Or Schraiber joined Naharin’s Company in 2010. He has directed, choreographed and acted in several short films.

Bobbi Jene Smith and Or Schraiber share a strong attraction to the world of cinema, and they starred and danced in Aviva in 2020.

The Paris Opera Corps de Ballet and the Paris Opera Orchestra

[rabbitcruiser]

Karlskrona, Sweden (No. 9)

The island on which Karlskrona was built, Trossö, was owned during the 17th century by the farmer Vittus Andersson. On the mainland a couple of kilometers from there, during the Danish era, there was another, older town called Lyckå and a couple of miles from there, the Danes had started to build Kristianopel before Blekinge became Swedish in 1658 . Until 1679, the island and the nearest islets were owned by the farmer Vittus Andersson, who was now forced to sell his properties to the Swedish crown, and in the same year plans were started to place most of the kingdom's fleet on Trossö. The new city, Karlskrona city , was named after its founder Karl XI as well as Landskrona. Its location was strategic with controlled connections to the mainland and in 1681 military fortifications were erected on the seaward framing archipelago to protect the naval base. The fact that Sweden wanted to locate its navy here was of course due to the fact that it wanted to manifest a position of power close to Denmark and the European continent. In addition, the harbor is ice-free most of the year.

On August 10, 1680 Karlskrona received its city privileges , while Ronneby , which previously lost its when Kristianopel was built, meant that Karlskrona's trade and growth increased as many of its inhabitants were forced to move there. People from Christianople also flocked after their Danish city was destroyed by the Swedes. Karlskrona also benefited from several years of customs freedom during its construction. Shipbuilders for the new naval base with shipyards were brought from Ostrobothnia and Stockholm .

In 1682, bridges were built that connected the city center with the mainland. At the founding of the Admiralty Church in 1685, the Navy's music corps was mentioned for the first time via its predecessors, the Admiralty Musicians. This makes the orchestra the country's second oldest cultural institution. Only the Royal Court Chapel is older.

The first town plan, drawn up in 1683 by Erik Dahlbergh , Hans Wachtmeister and Carl Magnus Stuart , shows Karlskrona as a pure fortress. The 1694 plan by Erik Dahlberg, which was later followed, also provided space for urban development. 

Karlskrona soon became the kingdom's third largest city, after Riga in present-day Latvia and Stockholm.

Source: Wikipedia        

[sheetmusiclibrarypdf]

NIELSEN SYMPHONY NO. 2

NIELSEN SYMPHONY NO. 2

Carl Nielsen saw a picture at a restaurant which comically depicted the four human temperaments. He portrayed what he saw in his Second Symphony – a piece of music loaded with humour, drama and Danish geniality. https://www.konserthuset.se/en/play/nielsen-symphony-no-2/?utm_medium=display&utm_source=bachtrack.com&utm_campaign=listinglink - Carl Nielsen Symphony No. 2 ”The four temperaments” - Royal Stockholm Philharmonic Orchestra - Sakari Oramo conductor - Filmed in September 2013. With Nielsen, humour is an almost constant presence. The focus is on a sort of wittiness, as well as occasional elements of musical sarcasm. This is particularly applicable to the Second Symphony. It was composed after a visit to a village restaurant where Nielsen saw a picture on the wall which rather brutishly portrayed the four human temperaments: choleric, phlegmatic, melancholic and sanguine. All with a heavy dose of Danish geniality. He was inspired to portray each temperament in its own movement in a symphony. 

At a concert in 1931 with the Royal Stockholm Philharmonic Orchestra, Nielsen described the picture in a comment: “The choleric individual sat on a horse, a long sword in his hand, with which he gesticulated wildly through the empty air, his eyes bursting out of his head, his hair flapping madly around his face, which was contorted with rage and diabolic hatred to the point that I could not help but burst into laughter. The other three pictures were in the same style, and my friends and I were heartily entertained by the naiveté of the pictures, their overblown expressions and comical seriousness.”  Read the full article

[jesspressnellgrad604]

Creative Profile 9 - Giordano Bellincampi

The Auckland Philharmonia Orchestra's music director is Giordano Bellincampi. He was born in Italy and spent his early years in Copenhagen. In 1994, he made his directing debut. He started his career as a trombone with the Royal Danish Orchestra.

The chief conductor of the Kristiansand Symphony, the principal conductor of Milan's I Pomeriggi Musicali, the music director of the Duisburg Philharmonic, the music director of the Danish National Opera in Aarhus, and the music director of the Copenhagen Philharmonic Orchestra are just a few of his previous roles. He has an adjunct faculty position at the Royal Danish Academy.

In recognition of his contributions to Danish culture, the Danish Royal Family named him a Knight of the Order of the Dannebrog in 2010. He also bears the title of Cavaliere from the President of Italy.

[dorritmatson]

"Under Northern Lights" - Scandia Symphony in Lincoln Center Debut

The New York Scandia Symphony (Scandia) is a not-for-profit organization established in New York City in 1988 by Danish conductor Dorrit Matson, who serves as its Music Director. For over three decades the Scandia Symphony has presented unknown and rarely performed Scandinavian masterpieces to the American public, introducing innovative and creative symphonic programs to diverse and multicultural audiences of New York City and sharing the cultural heritage of Northern Europe with the public and as part of the international musical scene of New York City.

The Scandia Symphony engages 50 musicians, all selected among New York City's finest and under contract with the musicians union. All are dedicated to artistic excellence and welcome the challenge of reviving and performing quality works by classical composers which would otherwise remain unknown to the public.

The Scandia Symphony concerts take place in beautiful concert venues across New York City, such as Alice Tully Hall in Lincoln Center, Symphony Space on the Upper West Side, Victor Borge Hall in Scandinavia House on Park Avenue, Billings Lawn in Fort Tryon Park, and and for 18 years of residence in Trinity Church in lower Manhattan.

Music director and conductor Dorrit Matson has distinguished herself in the world of symphonic conducting by bringing a vast repertoire of Scandinavian music to the attention and availability of the American public. Her concert programs present works by well known composers like Edvard Grieg, Carl Nielsen, and Jean Sibelius as well as more obscure compositions by Poul Schierbeck, Lars-Erik Larsson, Hugo Alfven, Bernhard Crusell and others.

In the 2023 season, the Scandia Symphony moved its popular symphonic concert series "Under Northern Lights" from Symphony Space to Alice Tully Hall in Lincoln Center. Scandia's Lincoln Center debut took place on April 13th, to much delight of both musicians and the enthusiastic audience that gathered and filled the venue to capacity (1100 seats). At the end all were standing and rewarded the orchestra with a long applause.

The orchestra, composed of 50 musicians, performed a unique program, starting with the Helios Overture and An Imaginary Journey to the Faroe Islands by Carl Nielsen, Denmark’s most renowned composer. Carl Nielsen composed the Helios Overture, named after the Greek god of the sun, while he was in Athens, inspired by the warmth of the sun over the Aegean Sea. An Imaginary Journey to the Faroe Islands was composed on commission from the Royal Theater of Copenhagen for a concert celebrating a visit to the Faroe Islands.

The concert continued with Concertino for Two Horns and Orchestra, by Friedrich Kuhlau. The German composer and concert pianist worked as a musician for the Danish Court after fleeing Germany to escape the Napoleonic invasion. He is mainly known for his piano music and flute works. He composed the Concertino for Two Horns and Orchestra in the early 1820s.

Next, the orchestra performed At the Castle Gate and the Karelia Suite by Jean Sibelius. The Finnish composer is among the most notable Scandinavian symphonic composers whose works became famous throughout Europe in the early 20th century.

At the Castle Gate is the first movement of Sibelius’s Pelleas and Melisande, written on commission by the Swedish Theater for the 1905 play by Maurice Maeterlinck. Sibelius conducted the music for the play, which was one of the most successful theatrical performances of the year. Karelia Suite is one of Sibelius’s most popular works, composed in 1893. The three-movement suite, inspired by the Karelia region of Finland, was extracted from incidental music that he performed for the students at Helsinki University in Vyborg.

The concert ended with the Swedish Rhapsody No. 1, Midsommarvaka by Hugo Alfven. A Swedish violinist, composer, and conductor, Alfven is one of Sweden’s most successful, appreciated, and performed composers.

Alfven composed Midsommarvaka (Midsummer Vigil) in 1903, and it was performed for the first time in 1904 at the Royal Opera of Stockholm. The Romantic rhapsody is a festive composition, as opposed to Alfven’s previous works, many of which is deemed more serious by critics.

This special "Under Northern Lights" concert production was organized on occasion of and in collaboration with the 2023 exhibition "Beyond the Light" at the Metropolitan Museum of Arts, exhibiting Danish art in the 19th Century and organised by AFSMK (American Friends of SMK/The National Gallery of Denmark).

[popofventi]

Favorite Instrumental Songs of 2022 Playlist

2022 :: Instrumental Favorites

Here are Ventipop’s favorite Instrumental tracks of 2022. Enjoy and thanks for supporting Ventipop.

Ventipop feels it’s important to give a platform to all instrumental artists. Some of my favorite new music each year are instrumental tracks. I feel oftentimes, words get in the way of my interpretation of a song. There’s nothing more beautiful than a perfectly constructed instrumental track. I’ve been curating a monster instrumental playlist for years. You can check it out here. But this playlist is a curation of my favorite instrumentals discovered over the past twelve months.

Ventipop’s Favorite Instrumental tracks of 2022 proudly features the following musicians:

Dan Romer, Cristobal Tapia De Veer, Max Richter, Elena Urioste, Lindsey Stirling, Danny Bensi, Sunglasses For Jaws, Σtella, Redinho, Charlie Gabriel, Preservation Hall Jazz Band, Shoshana Michel, Dario Crisman, Jeff Russo, Alexandre Desplat, Via Mardot, Renaud Capucon, Parov Stelar Vallemarie, Yates McKendree, Die Sputniks, WOLF!, Scott Metzger, Takuya Kuroda, Grimy Styles, Federico Albanese, Jimmie Davis, Charles Mitchell, Wilson Trouve, Felix Mendelssohn, Danish String Quartet, David Myles, Rachel Portman, Raphaela Gromes, On Piano, Amaury Laurent Bernier, Julia Kent, Saunder Jurriaans, Giles Lamb, Rith Banney, Pablo de Sarasate, Hilary Hahn, Frankfurt Radio Symphony Orchestra, Andres Orozco-Estrada, Dobrawa Czocher, The Greyboy Allstars, Polyrhythmics, Beats Antique, Rogue VHS, Sylvee & The Sea, Pieta Brown, John Convertino, Esmerine, Stimming x Lambert, Christopher Tin, Voces8, Royal Philharmonic Orchestra, Barnaby Smith, TEKE::TEKE, Yann Tiersen, Richard Houghten, Lettuce, Hagop Tchaparian, Hermanos Gutierrez, Mats Dernald, Konrad Olausson, Library Tapes, Elias Braun and Astrid Sky

-xxx-

Ventipop’s Annual Instrumental Playlists

[lesser-known-composers]

Christoph Ernst Friedrich Weyse - Symphonie No. 4, II.Largo

Conductor: Michael Schonwandt, Orchestra: Royal Danish Orchestra

[vintagepromotions]

Poster for the Royal Danish Ballet and Music Festival held in Copenhagen, Denmark (c. 1950).

[burlveneer-music]

Stefan Pasborg - Ritual Dances - Stravinsky arranged for jazz big band

Danish drummer/composer Stefan Pasborg grew up in a household of ballet dancers, allowing him to have an intimate relationship with their lifestyle and performances. One of his first formative musical experiences was witnessing a performance of Igor Stravinsky’s legendary ballet, The Rite of Spring, by The Danish Royal Ballet. The experience embedded a love for Stravinsky’s work that has manifested in Pasborg’s new recording, Ritual Dances. Even though his compositions were seen as dangerously revolutionary when they premiered, Igor Stravinsky’s music has inspired listeners for generations. His many works have become part of the canon for many philharmonic orchestras but are still presented in more challenging programs. Stravinsky was a key figure in avant-garde symphonic writing, but it was his ballets, The Rite of Spring, The Firebird, and Petrushka, that solidified his legend. The Rite of Spring and The Firebird were the two ballets that inspired Pasborg to reinterpret the Stravinsky’s work for a jazz big band. Ritual Dances takes music from these two works as a basis for Pasborg’s re-structuring. The pieces are heard performed by two large ensembles: the UMO Helsinki Jazz Orchestra on two live cuts and Blood Sweat Drum+Bass for the complete studio recording. The bands are augmented by a number of soloists and electronic musicians. Stefan Pasborg - drums Anders Banke - tenor sax (tracks 3, 5, 6, 8, 9), clarinet (tracks 2, 3, 4, 6, 7) Anders Filipsen - keyboards (tracks 2-10) Fredrik Lundin - tenor sax (tracks 3, 4, 10) Goran Kajfes - trumpet (track 6) Jeppe Kjellberg - guitar (tracks 2, 3, 5, 7, 8, 9, 10) Jeppe Tuxen - Hammond B3 organ (tracks 6, 8) Jussi Kannaste - tenor sax (tracks 1, 11) Mikael Myrskog - Moog bass (tracks 1, 7, 8, 11) Rune Harder Olesen - percussion (tracks 7, 10) Seppo Kantonen - keyboards (tracks 1, 11) Ståle Storløkken - Hammond B3 organ (track 5) UMO Helsinki Jazz Orchestra (tracks 1 & 11): Ville Vannemaa - conductor Mikko Mäkinen - soprano, alto sax Sampo Kasurinen - tenor sax, flute Teemu Salminen - tenor sax, bass clarinet Max Zenger - baritone sax, bass clarinet Marko Portin - flute Teemu Mattsson - trumpet Timo Paasonen - trumpet Tomi Nikku - trumpet Tero Saarti - trumpet Kasperi Sarikoski - trombone Mikko Mustonen - trombone Pekka Laukkanen - trombone Mikael Långbacka - bass trombone Aarne Riikonen - percussion Blood Sweat Drum+Bass (tracks 2-10): Jens Christian "Chappe" Jensen - conductor, saxophones (track 9) Michael Mølhede - trumpet, flugelhorn Bent Hjort - trumpet, flugelhorn Malte Pedersen - trumpet, flugelhorn René Damsbak - trumpet, flugelhorn Ole Visby - soprano sax, clarinet, bass clarinet Julie Kjaer - alto sax, flute, alto flute Jacob Rønne Danielsen - tenor saxophone, contrabass clarinet, clarinet Nikolaj Schneider - tenor sax, clarinet Harald Langåsdalen - baritone sax, clarinet Jens Kristian Bang - trombone Jonathan Bruun Meyer - trombone Kirstine Kjaerulff Ravn - trombone Jonathan Henneveld - bass trombone Rasmus Svale Kjaergård Lund - tuba Sisse Foged Hyllestad - bass Magnus Lindgaard Jochumsen - percussion Søren Lyngsø Knudsen - electronics