Aksel Røed’s Other Aspects

Putting together an octet, which is what AKSEL RØED’S OTHER ASPECTS is, in order to bring his musical vision to fruition is no mean feat, but that is what Røed has successfully achieved. Having attracted some of the finest young Norwegian musicians, as well as those with a proven track record to the ranks of AKSEL RØED’S OTHER ASPECTS, the band will now become the focus of Røed’a attention. As he explains: 

OTHER ASPECTS started out in 2019 as an ambitious project for me to write some music for a school project at the Grieg Academy.  But, having put this octet together, I have not been able to put it aside and it is now my main focus in music. 

The ensemble is my biggest to date with all original music composed for an eight piece band. Other Aspects` “Do you dream in colours?” was recorded at fashionable Duper Studios in May 2020 in Bergen, and the band, consisting of some of my best friends and finest young musicians in Norway, perfectly executed my visions as composer and leader. 

On trumpet and flugelhorn we have my dear brother, the amazing Lyder Øvreås Røed, and on second trumpet, my good friend and colleague for many years, Andreas Hesselberg Hatzikiriakidis. The saxophone section consists of Lauritz Lyster Skeidsvoll on soprano and tenor, known from some of my favorite bands such as BEAR BROTHER and MASTER OOGWAY. On baritone sax and bass clarinet is  Michael Barnes, my long time mentor, friend and the musical leader of BERGEN BIGBAND. He is Aussie who writes the best scores for large ensembles in Bergen. As for myself, I try to lead the band from the tenor stand. Sigurd Steinkopf keeps the drums going and Sverre Sæbø holds the bass and Isach Skeidsvoll gives new meaning to the phrase “playing the piano”.

OTHER ASPECTS allows me to constantly drift into different directions and usually with short notice. The music is composed but not set, meaning its perfectly acceptable, and even encouraged to think and play outside the box. Most of the magic within the band lies in the free improvisation.  

In terms of inspiration I find it in the old saxophone recordings of Ornette Coleman, Albert Ayler and Pharoah Sanders, but also in the composing mind of Django Bates and Charlie Hadens Liberation Orchestra I.e. Despite all of the references, I still think (and hope) that the music undoubtedly sounds like “Aksel Røed”