Jono El Grande

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Jono El Grande is a colourful Norwegian artist who up to now is most known for his friendship with King Harald's son in law. I discovered his name in our artists/band database and purchased two of his albums by almost an accident.    

It was therefore with substantial skepticism I first listened to his Neo-Dada album. What I discovered is an excellent album who deserve a bigger audience among fans of avant garde, art rock and Frank Zappa. 
I got in touch with Jono El Grande for his story and an update on his activities.
-------------------------------------------------------------------------------------
Your
          background is a bit special in the Norwegian standards. You
          became
          infamous/famous as one of Ari Behn's (the husband of Princess
          Martha, the
          Norwegian king's oldest daughter) friends and therefore almost
          a member of the
          extended royal family in Norway. Hence some attention from the
          Norwegian gutter
          press. At the same time, your music is high quality. How do
          you deal with this
          dualism in your life and public profile?

    I concentrate on making music and art-related
        projects, which keep me too busy to worry about that.

    Your
          friend in the royal family have referred to yourself and his
          other artists
          friends as the “the new wine”. I guess this is a reference to
          the generation of
          bohemian artists and authors in Norway who gave us Edvard
          Munch, Henrik Ibsen
          and Edvard Grieg. Do you see parallels here or what do you put
          in the
          expression “the new wine”?

    Well, your guess is wrong. The New Wine was
        originally a visionary poem, written and read aloud at
        Theatercafeen in Oslo by
        Ari Behn and the poet Bertrand Besigye back in 1993. The poem
        was about turning
        yourself against the institutional establishment, and had
        nothing to do with
        the old bohemians. Later The New Wine became our name, almost
        like Rock in
        Opposition, first the name of a movement, then the name of a
        genre.

    Do
          you also regard yourself as a bohemian in the old Kristiana
          anno 1870s mould?

    No.

    You
          were involved in a lot of projects before you found your own
          voice. Your first
          album was Utopiske Danser/Utopian Dances from 1999. Please
          tell us more about
          this album.

    Utopian Dances is a collection of recordings,
        most of them made under my bed (an attic bed) in a moldy
        bachelor flat, between
        1995 and 1999. 

    The tracks “Türbø Meuz”, “Rapphoenß”, “Chai-Niese
        Bloöezé”, “Ms Bezerra” and “Beyond Pornography Theme” was
        recorded entirely
        with an Ensonic Workstation synthesizer. “Utopian Dance”, “Vital
        Requiem
        Finale”, “Instant Milex” and “Patch-shaped Dance of Heads” were
        recorded on a
        Tascam Porta 07 4-track recorder, using a cheap Kawai FS 610
        keyboard, guitars,
        a broken alto clarinet, a cheap Russian accordion and a lot of
        different sounds
        made with utilities from my kitchen. “My Sexless Beloved” was
        recorded on my
        first Mac, an ugly lump named Macintosh Performa 6400 in 1996.
        All of these
        tracks were recorded at my old bachelor apartment in Oslo. 

    “Opest” was recorded in Endless Studio in Oslo
        with the power-artrock-combo Vidunderlige Vidda, a band you will
        be hearing
        more historical recordings from in the future. “Finnish Dance of
        Cysts”, were spontaneously
        composed on a multi-track organ and recorded in an instrument
        store in
        Helsinki, Finland.

    A couple of months after releasing Utopian
        Dances, I formed The Jono El Grande Orchestra, which developed
        to become the
        band you hear today. Some veterans are still going strong there,
        while a great
        number has been changed for the last ten years. Through a decade
        about 35
        musicians have been involved in this band project.

    Your
          second album Fevergreens from 2003 really got people's
          attention. Please tell
          us more about this album.

    Fevergreens was the first recording to be
        released with The Jono El Grande Orchestra, playing 14
        compositions made
        between 1996 and 2001. The term ‘fevergreens’ is a word play,
        meaning feverish
        evergreens, and both the sound and the musical structures
        reflects that. To me
        this album was a big leap forward from Utopian Dances in some
        ways, since it
        contained musicians and not just myself. There was a lot of work
        to get there,
        resulting in a release concert in Oslo Concert Hall. But on the
        other side
        Utopian Dances was unique with its pure naïve lo-fi sound.

Your
          most recent album is Neo-Dada from 2009, which really
          positively surprised me.
          Please tell us more about this album.

    Neo Dada contains compositions originally written
        between 1996 and 2006, some of them revised several times before
        they were rehearsed
        with The Luxury Band, the re-named version of a more electrified
        Jono El Grande
        Orchestra since 2005. The oldest composition on the album is the
        first section
        of “Three Variations On A Mainstream Neurosis”, originally a
        song played by
        Vidda in 1997. The freshest part is actually the second section
        on the same track.
        This part consists of a faded in cacophony of improvised soprano
        saxophones.
        Those were all six different takes of the solo recorded on top
        of the 6/4-beat
        on the last section. These unused solo takes were extracted,
        merged together
        and processed with a long fade in. And the last section (the 6/4
        free-jazz
        disco) was also a separate song once, originally written for a
        TV series on NRK
        in 2003, as a much shorter version with lyrics. You can say this
        is a good
        example on how I like to work. A musical piece is always in
        constant change, I both
        re-arrange songs and re-title them constantly.

    Neo Dada also reflects my debut as a string
        arranger.
        During the studio sessions, I felt that something was missing.
        Strings. So I
        paused the whole session, went home and re-arranged a bunch of
        voices. It cost
        me a lot of extra effort and some cash, but I'm very glad I did
        that. The
        results are really satisfying, thanks to the wonderful string
        players.

    You
          are currently working on the fourth album. What can we expect
          from this album?

    The next record will be released November 6 2010
        and is an anniversary album celebrating both the 10th
        anniversary of the band
        (premiered 27. March 2000), and the 15th anniversary of me as a
        stage performer
        and art rock composer (premiered 29. January 1995). The track
        list contains new
        versions of previously released compositions, revised versions
        of unreleased
        songs that we have been performing on stage both with The Luxury
        Band and my
        old band Vidda, and some brand new tracks.

    The most distinctive change here though is the
        sound, made by Kai Andersen in his legendary studio Athletic
        Sound in Halden.
        This album will be much wilder and vivid than any of the first
        three ones.  I have been recording
        approximately 40
        instrument- and vocal tracks on each song, and it has been like
        trying to discover
        how much liquid a sponge can absorb before it starts dripping.
        The album will
        contain 11 songs that all segues into the next. There will be no
        breathing
        spaces.

    Other new stuff is that I do all of the vocal
        tracks, I play some percussion parts and a xylophone solo, and I
        play several
        duo- and multi-track guitar solos. Ole-Henrik Moe guests with
        his saw. Some say
        that saw provides a timbre you should be very careful to use as
        color effect in
        music, but I have used it on 9 of the 11 songs. Actually, this
        sound sort of
        makes a red thread through the whole album.

    How
          is your writing and creative processes?

    Intense, delightful and whimsy.

    Outside
          the duck pond called Norway, your music has been compared with
          Frank Zappa. You
          named your 2009 album Neo-Dada in reference to dadaism. But
          how would you
          describe your own music ?

    Vitalistic art rock.

    You
          are working with Rune Grammofon and your albums is widely
          available. Do you
          earn a living from your music or do you have a more mundane
          income source?

    I have a steady job to pay for Jon Håtuns
        bills, while my music pays Jono El Grandes bills.

    Besides
          of the new album, what is your plans for this and next year?

    We have a big release concert at the 7th of
        December, at Nasjonal Jazzscene Victoria, and this will be
        recorded on their 24
        track mixer. We'll see what comes out of that. Then I plan to
        record some
        compositions with the avantgarde trio Poing for a later release.
        I will also
        record a large and complex orchestra piece later on, which I am
        revising at the
        moment.

    But before that, after my fourth record, I will
        release a limitied editioned album with historical recordings on
        my own record
        company, probably in April 2011 or so. The artist Christer
        Karlstad is painting
        the cover.

    To
          wrap up this interview, is there anything you want to add to
          this interview ?

    Yes, here is a pre-millenium biography on Jono
        El Grande:

    1987

    Buying my first guitar, acoustic.

    1989 - 1992

    Forming several, relatively short-lived band
        concepts, such as Mannes Fatales, The Terror Duo, Acid Beat
        & The Cheeze
        Doodle Paranoia, Black Satan, King Pez, as Drosera and Jono
        & Steino.

    1991 - 1992

    Radio host at Radio Express, Bærum. Two hours
        every Sunday for about a year, I broadcast Frank Zappa and art
        rock-related
        music.

    1994 - 1995

    Decoration assistant at Norwegian Film,
        working on the movie Pakten (Waiting For Sunset) with Robert
        Mitchum.

    1994

    Menu Bizarra is formed (theatrical art rock):

    Torstein Birkedal (?) - Tenor Saxophone,
        Franck Bjaanes - drums, Ole Kristian Wetten - bass, Stein Stølen
        Bjerkaker -
        acoustic guitar and vocals, Trond Fausa Aurvåg - guest actor,
        Owe Egon Grandics
        - guest actor, Jono El Grande - guitar and vocals

    January 29, 1995

    Menu Bizarra, official stage debut concert at
        Volapük, Oslo. Menu Bizarra is disbanded a few months later,
        after three
        concerts.

    Fall 1995

    Vital Requiem (suite in ten movements for
        Kawai FS 610, radio and kitchen utensils). Solo performance at
        Betong, Oslo.

    1996

    Correspondence with Arne Nordheim. Writing the
        composition "A Reotaktisk Løsnegl", record it on tape and send
        it to
        him. Later published as "Ode To Arne Nordheim" on the
        compilation
        album Blårollinger II (2009).

    1996

    Writing an opera that has never been
        performed, "A Gangrene Hangover." The material is later released
        as
        reconstructed instrumental compositions on the albums Utopian
        Dances (1999),
        Fevergreens (2000) and Neo Dada (2009).

    Autumn 1996

    Vidunderlige Vidda (Wonderful Plateau) is
        formed (neo-dadaistic multi-genre music):

    Jono El Grande - guitar and vocals, Øyvind
        Brække - trombone, Stein Stølen Bjerkaker - bass and vocals,
        Sjur Odden
        Skjeldal - drums, percussion and vocals.

    1997

    Vidunderlige
        Vidda (Wonderful Plateau) debut concert at Belleville,
        Oslo.

    Also recording the piece "Opest" in
        Endless Studio, released on Utopian Dances (1999).

    1997

    Writing parts of a rock opera, "Leaving
        The Cemetery". Never performed.

    1998

    Buying a workstation synthesizer.

    Vidunderlige
        Vidda (Wonderful Plateau) disbanded.

    January 1999

    Going to Havana, Cuba, and compose with an
        orchestra. The recording plans were interrupted, but some
        material was
        recomposed and released on Fevergreens (2003).

    January 1999

    Cooperating with Madrugada 15-minute solo
        performance art show "Dancing Outside the Greenhouse in a Utopia
        of Musical
        Extremism" on So What.

Thank you to Jono El Grande for this interview

His PA profile is here and the homepage here

Edited by toroddfuglesteg - November 07 2010 at 05:52

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toroddfuglesteg Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Retired Joined: March 04 2008 Location: Retirement Home Status: Offline Points: 3658	Topic: Jono El Grande Posted: October 20 2010 at 12:15
	Jono El Grande is a colourful Norwegian artist who up to now is most known for his friendship with King Harald's son in law. I discovered his name in our artists/band database and purchased two of his albums by almost an accident. It was therefore with substantial skepticism I first listened to his Neo-Dada album. What I discovered is an excellent album who deserve a bigger audience among fans of avant garde, art rock and Frank Zappa. I got in touch with Jono El Grande for his story and an update on his activities. ------------------------------------------------------------------------------------- Your background is a bit special in the Norwegian standards. You became infamous/famous as one of Ari Behn's (the husband of Princess Martha, the Norwegian king's oldest daughter) friends and therefore almost a member of the extended royal family in Norway. Hence some attention from the Norwegian gutter press. At the same time, your music is high quality. How do you deal with this dualism in your life and public profile? I concentrate on making music and art-related projects, which keep me too busy to worry about that. Your friend in the royal family have referred to yourself and his other artists friends as the “the new wine”. I guess this is a reference to the generation of bohemian artists and authors in Norway who gave us Edvard Munch, Henrik Ibsen and Edvard Grieg. Do you see parallels here or what do you put in the expression “the new wine”? Well, your guess is wrong. The New Wine was originally a visionary poem, written and read aloud at Theatercafeen in Oslo by Ari Behn and the poet Bertrand Besigye back in 1993. The poem was about turning yourself against the institutional establishment, and had nothing to do with the old bohemians. Later The New Wine became our name, almost like Rock in Opposition, first the name of a movement, then the name of a genre. Do you also regard yourself as a bohemian in the old Kristiana anno 1870s mould? No. You were involved in a lot of projects before you found your own voice. Your first album was Utopiske Danser/Utopian Dances from 1999. Please tell us more about this album. Utopian Dances is a collection of recordings, most of them made under my bed (an attic bed) in a moldy bachelor flat, between 1995 and 1999. The tracks “Türbø Meuz”, “Rapphoenß”, “Chai-Niese Bloöezé”, “Ms Bezerra” and “Beyond Pornography Theme” was recorded entirely with an Ensonic Workstation synthesizer. “Utopian Dance”, “Vital Requiem Finale”, “Instant Milex” and “Patch-shaped Dance of Heads” were recorded on a Tascam Porta 07 4-track recorder, using a cheap Kawai FS 610 keyboard, guitars, a broken alto clarinet, a cheap Russian accordion and a lot of different sounds made with utilities from my kitchen. “My Sexless Beloved” was recorded on my first Mac, an ugly lump named Macintosh Performa 6400 in 1996. All of these tracks were recorded at my old bachelor apartment in Oslo. “Opest” was recorded in Endless Studio in Oslo with the power-artrock-combo Vidunderlige Vidda, a band you will be hearing more historical recordings from in the future. “Finnish Dance of Cysts”, were spontaneously composed on a multi-track organ and recorded in an instrument store in Helsinki, Finland. A couple of months after releasing Utopian Dances, I formed The Jono El Grande Orchestra, which developed to become the band you hear today. Some veterans are still going strong there, while a great number has been changed for the last ten years. Through a decade about 35 musicians have been involved in this band project. Your second album Fevergreens from 2003 really got people's attention. Please tell us more about this album. Fevergreens was the first recording to be released with The Jono El Grande Orchestra, playing 14 compositions made between 1996 and 2001. The term ‘fevergreens’ is a word play, meaning feverish evergreens, and both the sound and the musical structures reflects that. To me this album was a big leap forward from Utopian Dances in some ways, since it contained musicians and not just myself. There was a lot of work to get there, resulting in a release concert in Oslo Concert Hall. But on the other side Utopian Dances was unique with its pure naïve lo-fi sound. Your most recent album is Neo-Dada from 2009, which really positively surprised me. Please tell us more about this album. Neo Dada contains compositions originally written between 1996 and 2006, some of them revised several times before they were rehearsed with The Luxury Band, the re-named version of a more electrified Jono El Grande Orchestra since 2005. The oldest composition on the album is the first section of “Three Variations On A Mainstream Neurosis”, originally a song played by Vidda in 1997. The freshest part is actually the second section on the same track. This part consists of a faded in cacophony of improvised soprano saxophones. Those were all six different takes of the solo recorded on top of the 6/4-beat on the last section. These unused solo takes were extracted, merged together and processed with a long fade in. And the last section (the 6/4 free-jazz disco) was also a separate song once, originally written for a TV series on NRK in 2003, as a much shorter version with lyrics. You can say this is a good example on how I like to work. A musical piece is always in constant change, I both re-arrange songs and re-title them constantly. Neo Dada also reflects my debut as a string arranger. During the studio sessions, I felt that something was missing. Strings. So I paused the whole session, went home and re-arranged a bunch of voices. It cost me a lot of extra effort and some cash, but I'm very glad I did that. The results are really satisfying, thanks to the wonderful string players. You are currently working on the fourth album. What can we expect from this album? The next record will be released November 6 2010 and is an anniversary album celebrating both the 10th anniversary of the band (premiered 27. March 2000), and the 15th anniversary of me as a stage performer and art rock composer (premiered 29. January 1995). The track list contains new versions of previously released compositions, revised versions of unreleased songs that we have been performing on stage both with The Luxury Band and my old band Vidda, and some brand new tracks. The most distinctive change here though is the sound, made by Kai Andersen in his legendary studio Athletic Sound in Halden. This album will be much wilder and vivid than any of the first three ones. I have been recording approximately 40 instrument- and vocal tracks on each song, and it has been like trying to discover how much liquid a sponge can absorb before it starts dripping. The album will contain 11 songs that all segues into the next. There will be no breathing spaces. Other new stuff is that I do all of the vocal tracks, I play some percussion parts and a xylophone solo, and I play several duo- and multi-track guitar solos. Ole-Henrik Moe guests with his saw. Some say that saw provides a timbre you should be very careful to use as color effect in music, but I have used it on 9 of the 11 songs. Actually, this sound sort of makes a red thread through the whole album. How is your writing and creative processes? Intense, delightful and whimsy. Outside the duck pond called Norway, your music has been compared with Frank Zappa. You named your 2009 album Neo-Dada in reference to dadaism. But how would you describe your own music ? Vitalistic art rock. You are working with Rune Grammofon and your albums is widely available. Do you earn a living from your music or do you have a more mundane income source? I have a steady job to pay for Jon Håtuns bills, while my music pays Jono El Grandes bills. Besides of the new album, what is your plans for this and next year? We have a big release concert at the 7th of December, at Nasjonal Jazzscene Victoria, and this will be recorded on their 24 track mixer. We'll see what comes out of that. Then I plan to record some compositions with the avantgarde trio Poing for a later release. I will also record a large and complex orchestra piece later on, which I am revising at the moment. But before that, after my fourth record, I will release a limitied editioned album with historical recordings on my own record company, probably in April 2011 or so. The artist Christer Karlstad is painting the cover. To wrap up this interview, is there anything you want to add to this interview ? Yes, here is a pre-millenium biography on Jono El Grande: 1987 Buying my first guitar, acoustic. 1989 - 1992 Forming several, relatively short-lived band concepts, such as Mannes Fatales, The Terror Duo, Acid Beat & The Cheeze Doodle Paranoia, Black Satan, King Pez, as Drosera and Jono & Steino. 1991 - 1992 Radio host at Radio Express, Bærum. Two hours every Sunday for about a year, I broadcast Frank Zappa and art rock-related music. 1994 - 1995 Decoration assistant at Norwegian Film, working on the movie Pakten (Waiting For Sunset) with Robert Mitchum. 1994 Menu Bizarra is formed (theatrical art rock): Torstein Birkedal (?) - Tenor Saxophone, Franck Bjaanes - drums, Ole Kristian Wetten - bass, Stein Stølen Bjerkaker - acoustic guitar and vocals, Trond Fausa Aurvåg - guest actor, Owe Egon Grandics - guest actor, Jono El Grande - guitar and vocals January 29, 1995 Menu Bizarra, official stage debut concert at Volapük, Oslo. Menu Bizarra is disbanded a few months later, after three concerts. Fall 1995 Vital Requiem (suite in ten movements for Kawai FS 610, radio and kitchen utensils). Solo performance at Betong, Oslo. 1996 Correspondence with Arne Nordheim. Writing the composition "A Reotaktisk Løsnegl", record it on tape and send it to him. Later published as "Ode To Arne Nordheim" on the compilation album Blårollinger II (2009). 1996 Writing an opera that has never been performed, "A Gangrene Hangover." The material is later released as reconstructed instrumental compositions on the albums Utopian Dances (1999), Fevergreens (2000) and Neo Dada (2009). Autumn 1996 Vidunderlige Vidda (Wonderful Plateau) is formed (neo-dadaistic multi-genre music): Jono El Grande - guitar and vocals, Øyvind Brække - trombone, Stein Stølen Bjerkaker - bass and vocals, Sjur Odden Skjeldal - drums, percussion and vocals. 1997 Vidunderlige Vidda (Wonderful Plateau) debut concert at Belleville, Oslo. Also recording the piece "Opest" in Endless Studio, released on Utopian Dances (1999). 1997 Writing parts of a rock opera, "Leaving The Cemetery". Never performed. 1998 Buying a workstation synthesizer. Vidunderlige Vidda (Wonderful Plateau) disbanded. January 1999 Going to Havana, Cuba, and compose with an orchestra. The recording plans were interrupted, but some material was recomposed and released on Fevergreens (2003). January 1999 Cooperating with Madrugada 15-minute solo performance art show "Dancing Outside the Greenhouse in a Utopia of Musical Extremism" on So What. Thank you to Jono El Grande for this interview His PA profile is here and the homepage here Edited by toroddfuglesteg - November 07 2010 at 05:52

memowakeman Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: May 19 2005 Location: Mexico City Status: Offline Points: 13032	Posted: October 20 2010 at 21:28
	Excellent interview. This was one more of Assaf's recommendations, and I've enjoyed Jono El Grande's music since then.
	Follow me on twitter @memowakeman

Marcin Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Newbie Joined: December 04 2008 Location: Poland Status: Offline Points: 32	Posted: October 24 2010 at 10:16
	I've seen the live performance of Jono El Grande just couple weeks ago in Wroclaw (Poland). That was really good experience; vigorously and ironically; highly recommended!


Man With Hat Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Collaborator Jazz-Rock/Fusion/Canterbury Team Joined: March 12 2005 Location: Neurotica Status: Offline Points: 166178	Posted: October 24 2010 at 21:12
	Nice read!
	Dig me...But don't...Bury me I'm running still, I shall until, one day, I hope that I'll arrive Warning: Listening to jazz excessively can cause a laxative effect.