{"id":4481,"date":"2022-05-24T23:28:44","date_gmt":"2022-05-25T04:28:44","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=4481"},"modified":"2022-08-24T07:40:40","modified_gmt":"2022-08-24T12:40:40","slug":"undercurrent-laswell-ivarsson-i","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/undercurrent-laswell-ivarsson-i\/","title":{"rendered":"Undercurrent: A Conversation with Ulf Ivarsson and Bill Laswell (Part One)"},"content":{"rendered":"\n

One could cogently argue that Bill Laswell is the epitome of an artist unconfined by genre norms. As critic Chris Brazier correctly noted, \u201cLaswell\u2019s pet concept is \u2018collision music\u2019 .. bringing together musicians from wildly divergent but complementary spheres and seeing what comes out.\u201d The output of Laswell\u2019s first major band, Material, runs the gamut from dance music to hip hop to jazz to spoken word readings. Another group, Praxis, explores the spaces between rock, metal, and funk. The BBC described another ensemble, Massacre, as \u201can unholy union of The Shadows, Captain Beefheart, Derek Bailey, and Funkadelic.\u201d Even the nominally free-jazz outfit, Last Exit, with Peter Br\u00f6tzmann, Ronald Shannon Jackson, and Sonny Sharrock, also had hues of punk music. There is a reason Laswell has become known across the music industry as someone who can develop a new sound. When Herbie Hancock was looking to go in a different direction, Tony Williams referred the pianist to Laswell, resulting in \u201cRockit\u201d, the jazz\/hip-hop\/electro hybrid which still stands as a highlight in Hancock\u2019s illustrious career. Miles Davis, ever the musical chameleon, once also sought Laswell\u2019s counsel. Laswell has also produced albums by artists as wide-ranging as Afrika Bambaataa, Laurie Anderson, Lee \u201cScratch\u201d Perry, Yoko Ono, Iggy Pop, and Henry Threadgill. And that is all just scratching the surface of Laswell\u2019s career. The latest in this long line of eclectic music is Nammu<\/em> (Ropeadope, 2022), his collaboration with bassist Ulf Ivarsson. <\/p>\n\n\n\n

While not as well-known outside of his native Sweden, Ivarsson is no less inventive than Laswell. The parallels between the two are uncanny. One could even argue the two bassists are kindred spirits musically. They both found themselves drawn to their instrument of choice as a teenager. Both cite many of the same influences from across the musical spectrum. They are drawn equally to performance and production. But, perhaps most importantly, is their shared board view of music. Ivarsson\u2019s band Beatundercontrol blurs dub, jazz, funk, electronica, roots, and rock music. Another, Domherrarna, fuses jazz, punk, art-rock, Swedish prog, and noise. A third, Hedningarna, married Scandanavian folk music with electronica and rock. <\/p>\n\n\n\n

The idea to pair Ivarsson and Laswell pays off well. The meeting of these two sonic navigators produces a recording that is unique while remaining cohesive. Across its four tracks, Nammu<\/em> evolves, respectful of the origins of its influences without feeling restricted by them. For instance, \u201cKishar\u201d begins with the sound of Delta Blues before morphing to electronic music, firey avant-garde free blowing, and then finally settling upon a soft ambient aesthetic. All guided by a deep undercurrent of dub. These changes in approach never seem forced or disjointed. The pieces are unpredictable yet seem to flow organically. It is only in retrospect that a listener will try to identify the roots of different parts. It is that rare type of recording that rewards increased listening. <\/p>\n\n\n\n

We sat down with Ivarsson and Laswell to discuss the project, their influences, and some of their other projects.<\/p>\n\n\n\n

PostGenre:  How did Nammu<\/em> come together?<\/strong><\/p>\n\n\n\n

Ulf Ivarsson: in a way, it started for me in the early 1980s. Musically, I mostly focused on punk at the time. One of my friends was another bassist in my home city, and he gave me a copy of Temporary Music<\/em> Volumes 1 and 2<\/em> (Celluloid, 1981) from Bill\u2019s band, Material. I thought the album was pretty cool and it made me expand my focus a bit musically. It was loose but sounded different from what I heard elsewhere. Not long after, I listened to the Brian Eno and David Byrne record, My Life In The Bush Of Ghosts<\/em> (Sire, 1981). That whole album, especially the first track, \u201cAmerica Is Waiting\u201d which featured Bill, was great.  <\/p><\/blockquote>\n\n\n\n

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