PRESS
About the album ’Throughout’:
- Impressive jazz-cd by the guitarist Jakob Vejsev and his seasoned quartet. Vejslev is an excellent composer who has gathered inspiration from bebop, bossa and bluesy jazz. The music is wonderfully lyrical, ambient and honest.
(The original Danish quote):
”Flot jazz-cd fra guitaristen Jakob Vejslev og hans velspillende kvartet. Vejslev er en fremragende komponist, der henter inspiration hos bebop, bossa og blues’et jazz. Musikken er dejligt lyrisk, stemningsmættet og oprigtig.”
MUSIKEREN, december 2004
- Exciting record from a guitarist, who has performed in numerous constelations in danish jazz and pop in the past 25 years...
(The original Danish quote):
”Spændende udspil fra en guitarist, som har optrådt i en lang række sammenhænge indenfor dansk jazz og pop i de sidste mere end 25…"
JAZZ SPECIAL, nr.78, november 2004
About the album ’Kor- og kammermusik’:
- ...by no means trivialities he has acchieved in his life with music and painting... It is simple and quite music, Jakob Vejslev presents. Many of the tunes resemble hymns, you almost miss the organ. Jakob Vejslevs music demands (...) great original expression in order to come into its own.
(The original Danish quote):
”…bestemt ikke småting, han har nået i sit liv med musik og billeder...” ”Det er enkel og stille musik, Jakob Vejslev præsenterer. Der er et stærkt præg af salmetone over mange af numrene. Man savner næsten orglet.” ”Jakob Vejslevs musik kræver (…) stor og personlig udtrykskraft for at komme til sin ret.”
HELENE MOE, Krist. Dagbl., 27/4 2005
About JVs work in Namsos:
- Inspite of being incredibly active these four years both as a composer, musician, teacher and painter he is little known for a big audicence. Musicians on the other hand, those who perform his music and his students at the music school value his versatility and skill.
(The original Norwegean quote):
”På tross av at i disse fire årene har vært utrolig aktiv, både som komponist, musiker, lærer og billedkunstner, er han lite kjent for det store publikum. Musikerne derimot, de som spiller hans musikk, og gitarelevene i musikkskolen, setter stor pris på hans alsidighet og dyktighet.”
ROLF IVERSEN, Namdals-Avisa (eller Namdal arbeiderblad), 8/11 1995
Om uropførelsen af ’trio nr. 2’:
- No the music isn't easily accessible. You need to hear it more than once before you catch on to it. We experienced the music as a series, a collection of paintings that were presented with a unique effect. The impression is light almost humorous. This impression is primarily given by the underlying harmonies.
(The original Norwegean quote):
”Nej, musikken min er ikke lett tilgjengelig. Du må høre den noen ganger før den sitter, indrømmer Jakob Vejslev…” ”Vi opplevde stykket som en serie noe opstykkede bilder som ble presentert med helt spesielle effekter. Uttrykket er lett, ja nesten morsomt. Musikkuttrykket skapes først og fremst av klangeffektene, noen sammenhængende melodi hører vi knapt.”
NAMDALS-AVISA, 17/6 1996
About the premier of ’Trio nr 3, opus 109’:
- I want to sit in the front row whispered the man to his wife. And so it was. It was clear that some had great expectations when they entered Namsos church last night. Trio nr. 3 was the center of the concert. The piece consists of four movements, loosely written with 12-tone technique. By using this technique more as a source of inspiration then a strict set of rules Vejslev has managed to create a very exciting piece... If we were to judge the concert from our friend on the first row it was a success.
(The original Norwegean quote):
”Jeg skal sitte fremst, hvisket mannen bestemt til kona. Og slik ble det. Det var tydelig at enkelte hadde store forhåpninger da de entret Namsos kirke i går kveld.” ”Trio nr 3. Hovedinnslaget under konserten. Dette er et verk bestående av fire satser, skrevet i tolvtone-teknikk. Ved å gå utenom toltone-teknikkens strenge rammer, har Vejslev klar å få til et meget spennende verk.... Og skal vi bedømme konserten ut fra reaksjonen fra vår høythviskende venn på første rad, var den velykket til tross for at bare 25 musikkelskere hadde latt seg friste av martnastilbudet i kirka.”
JAN AAGE HALS, Namdals-Avisa, 16/8 1997
About Vejslev/Davis-duo on Gl. Holtegaard:
- The two musicians managed to play both audibly and softly so everyone was saftisfied... The evening was a musical delight...
(The original Danish quote):
”…de to musikere evnede at spille både hørbart og dæmpet, så alle var tilfredse…. Og maden der blev serveret, stod ikke tilbage for musikken – aften var musikalsk en fryd, gastronomisk og gallafornøjelse. For som de siger på Gæstehuset: Livet er for kort til dårlig mad og ringe musik.”
LOKAL-POSTEN, 7/3 1990
About JV in England:
”At the latest session by Terry Allonby’ Quartet at Civic Theatre Bar, Terry enthused about a superb danish guitarist (whose name Terry couldn’t pronounce!) who had sat in at a Nottingham Playhouse gig with Terry’s group. Terry and the boys were so impressed that they invited him to their next session....so if you want to hear som amazing ‘Joe Pass-style’ guitar make sure to be there – by then we should know his name”
CLUBLAND, (paper??? date??)
“As mentioned in previous articles, so impressed with Jakobs superb Joe Pass influenced technique were Terry and his group that they took the earliest possible opportunity to introduce him to Duncaster audiences.”
(paper?? date??) possibly the THE STAR
“Studied impression! Danish guitarist Jakob Vejslev, enjoying an extended vacation in the UK while his wife studies at Nottingham University, has impressed audiences.”
EVENING POST, 8/6 1991
About the anniversary celebration for Namsos Music School:
- Comissioned music. 900 students participated in the comissioned music collage Jakob Vejslev created in collaboration with Terje Adde and Terje Tranås. Light and smoke effects and an exciting event made the performance a unique experience for the listeners. It was clearly shown that the last ten years have been fruitful musically.
(The original Norwegean quote):
“Speciallaget musikk. 900 musikkskoleelever deltok i framførelsen av den spesiallagde musikkolasjen Jakob Vejslev har laget i samarbeid med Terje Adde og Terje Tranås. Lys- og røyeffekter og et spennende arrangement gjorde oppvisningen til en opplevelse for tilskuerne. Det ble bevist med all tydelighet at de siste ti årene har båret musikalske frugter i byen...”
NAMDAL ARBEIDERBLAD, 21/10 1994
About the 5 first printed sheetmusic booklets from WarnerChappell (1998):
- The mood of the organ compositions is partly gloomy partly partly open-ended, but exciting. I do not own a bas clarinet, but will have to settle for the piano version of these solo pieces for basclarinet. I like them.
(The original Danish quote):
”Stemningen i orgelværkerne er dels dyster, dels uafklaret, men spændende. Jeg ejer ikke en basklarinet, men må nøjes med klaverets udgave af disse soli for basklarinet. Dem kan jeg helt godt lide.”
LONE MØLLE, Dansk sang nr 6, maj 1999
About the album Symbolik:
- In the past 25 years a wide repertoire (both original compositions and arrangements) have been made for organ and trumpet. Most of these play with the heroic and direct expression of the trumpet. Jakob Vejslevs compositions are refreshingly different with a beutiful and more inward expression which suits both instruments.
(The original Danish quote):
”I de sidste 25 år er der fremkommet et særdeles omfattende repertoire (både originalkompositioner & arr.) for trompet og orgel. Det meste spiller på trompetens heroiske og udfarende udtryk. Jakob Vejslevs kompositioner er forfriskende anderledes med et et smukt og mere indadvendt udtryk, der klæder begge instrumenter.”
MOGENS ANDRESEN, professor at The Royal Danish Academy of Music 22/8 2002
About W/C-udgivelserne i 2000:
”His contemporary music works – all written ‘for forces at hand’, so to speak – represent utterly unacademic excursions into hitherto unexplored spheres of of tonal and harmonic soundscapes, uniquely combining atonal serialism and jazz harmony, yet with surprisingly melodic – and quite singable – end results” “Jakob Vejslev’s New Music compositions are quite original in that here a great variety of atonal – yet melodic – scale patterns are accompanied by often dramatic chord progressions strongly influenced by the harmonic world of advanced Jazz music.”
TORSTEN OLAFSSON, may 2000
