Morten Olsen’s ‘Be My Quiet Friend’ is an album of paradoxes. It took more than ten years to produce, but it is based on moments. It makes use of improvisation and lets the musicians play “whatever occurs to them,” but has been trimmed, edited and manipu-lated ad infinitum. Certain passages are entirely improvised, while others were written out in detail.
And the triumph is that it is in fact pointless to try to distinguish between the two.
For Morten Olsen ‘Be My Quiet Friend’ is a return to his youth as a fusion musician. But it is also a culmination of his work as a composer. As a reaction to the experience of a concert that was “campfire songs, arranged and complicated so they sounded like composition music,” he decided to do the opposite.
It is over ten years since he decided to make a kind of music that finds its very DNA in the uncompromising and complex, but which then permits itself to be produced and recorded so it becomes seductive.
“I insist that music must seduce me,” he says. No matter whether it is Miles Davis, György Ligeti or Pelle Gudmundsen-Holmgreen, their methods do not get in the way of the music. Their new departures and discoveries are in reality discoveries of their own musical personalities.
With ‘Be My Quiet Friend’ Morten Olsen has set out to find a musical stance that is not bound by any conventions. Music that can contain both complexity and sensitivity.
Music that can do it all.