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CD
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RCD 2175CD
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Jono el Grande is a self-taught composer, musician, conductor, painter, and prankster and remains an outsider on the far margins of the Norwegian experimental music scene. He released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening, and a variety of pop idioms and featured a nine-piece orchestra. The Wire noted that "the vitality of his writing keeps just the right uplifting balance between sweetness and acidity" and called it "a pleasant surprise." His following album, Neo Dada (RCD 2084CD/RLP 3084LP, 2009), was a masterstroke, brimming with creative ideas, odd turns, weird combinations of sounds and instruments, complex time signatures, and a healthy dose of pure musical joy, all mysteriously sugared with melodic hooks. The following albums, Phantom Stimulance (RCD 2106CD/RLP 3106LP, 2010) and The Choko King (RACD 107CD/RALP 307LP, 2011) were mostly made up of re-recordings, "lost" songs, pre-Fevergreens sketches, and various odds and ends, making Melody of a Muddled Mason the natural successor to Neo Dada. Some of Jono el Grande's finest songwriting can be found here, and he has refined his already considerable arranging skills to perfection -- just listen to "Bach's Beach" and the title-track for evidence. Jono el Grande lists movements like Rock in Opposition and the Canterbury scene and artists and composers like Frank Zappa, Stravinsky, Magma, Henry Cow, and Gentle Giant as sources of inspiration. With his releases and stage shows he has now established his own signature, with mature compositions, refined arrangements, improved guitar playing, and the introduction of subtle vocals.
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LP+CD
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RLP 3175LP
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LP version on mint-green vinyl. Includes CD. First pressing of 500. Jono el Grande is a self-taught composer, musician, conductor, painter, and prankster and remains an outsider on the far margins of the Norwegian experimental music scene. He released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening, and a variety of pop idioms and featured a nine-piece orchestra. The Wire noted that "the vitality of his writing keeps just the right uplifting balance between sweetness and acidity" and called it "a pleasant surprise." His following album, Neo Dada (RCD 2084CD/RLP 3084LP, 2009), was a masterstroke, brimming with creative ideas, odd turns, weird combinations of sounds and instruments, complex time signatures, and a healthy dose of pure musical joy, all mysteriously sugared with melodic hooks. The following albums, Phantom Stimulance (RCD 2106CD/RLP 3106LP, 2010) and The Choko King (RACD 107CD/RALP 307LP, 2011) were mostly made up of re-recordings, "lost" songs, pre-Fevergreens sketches, and various odds and ends, making Melody of a Muddled Mason the natural successor to Neo Dada. Some of Jono el Grande's finest songwriting can be found here, and he has refined his already considerable arranging skills to perfection -- just listen to "Bach's Beach" and the title-track for evidence. Jono el Grande lists movements like Rock in Opposition and the Canterbury scene and artists and composers like Frank Zappa, Stravinsky, Magma, Henry Cow, and Gentle Giant as sources of inspiration. With his releases and stage shows he has now established his own signature, with mature compositions, refined arrangements, improved guitar playing, and the introduction of subtle vocals.
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CD
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RACD 107CD
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The Choko King by Jono El Grande features recordings from the period between 1995 and 2008, some of which pre-dates his first album by four years. This album offers an open door into Jono's surrealistic musical universe and is a rare gift to his increasing number of fans and anyone interested in the workings of a truly eccentric and artistic mind. The album has been meticulously assembled from home recordings, demos, rehearsal tapes, live and studio recordings and made into a completely new work by Jono himself. Jono El Grande is a self-taught composer, musician, conductor and prankster and remains an outsider on the far margin of the Norwegian experimental music scene. He released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening and a variety of pop idioms and featured a nine-piece orchestra. The Wire noted that "the vitality of his writing keeps just the right uplifting balance between sweetness and acidity" and called it "a pleasant surprise." Next up was Neo Dada (RCD 2084CD/RLP 3084LP) in 2009, an album brimming with musical adventure, odd turns, weird combinations of sounds and instruments, complex signatures and a good portion of pure joy, all mysteriously sugared with infectious melodic hooks. Neo Dada represented something of an artistic breakthrough and received great reviews everywhere. This was followed by Phantom Stimulance (RCD 2106CD/RLP 3106LP) in late 2010. The sleeve paintings on The Choko King are by acknowledged Norwegian artist Christer Karlstad and show The Choko King, intentionally misspelled to point to the megalomaniac's hubris: to choke on what you desire the most. The CD edition includes a 14-minute bonus track.
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LP
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RALP 307LP
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LP version; limited, numbered edition of 300 copies. The Choko King by Jono El Grande features recordings from the period between 1995 and 2008, some of which pre-dates his first album by four years. This album offers an open door into Jono's surrealistic musical universe and is a rare gift to his increasing number of fans and anyone interested in the workings of a truly eccentric and artistic mind. The album has been meticulously assembled from home recordings, demos, rehearsal tapes, live and studio recordings and made into a completely new work by Jono himself. Jono El Grande is a self-taught composer, musician, conductor and prankster and remains an outsider on the far margin of the Norwegian experimental music scene. He released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening and a variety of pop idioms and featured a nine-piece orchestra. The Wire noted that "the vitality of his writing keeps just the right uplifting balance between sweetness and acidity" and called it "a pleasant surprise." Next up was Neo Dada (RCD 2084CD/RLP 3084LP) in 2009, an album brimming with musical adventure, odd turns, weird combinations of sounds and instruments, complex signatures and a good portion of pure joy, all mysteriously sugared with infectious melodic hooks. Neo Dada represented something of an artistic breakthrough and received great reviews everywhere. This was followed by Phantom Stimulance (RCD 2106CD/RLP 3106LP) in late 2010. The sleeve paintings on The Choko King are by acknowledged Norwegian artist Christer Karlstad and show The Choko King, intentionally misspelled to point to the megalomaniac's hubris: to choke on what you desire the most. Printed innersleeve includes nerdy details about each track from Jono.
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CD
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RCD 2106CD
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This is the third full-length release by Jon Andreas Håtun aka Jono El Grande, a self-taught composer, musician, conductor and prankster who remains an outsider on the far margin of the Norwegian experimental music scene. He released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening and a variety of pop idioms and featured a 9-piece orchestra. 2009's Neo Dada (RCD 2084CD/RLP 3084LP) was a masterstroke; brimming with creative ideas, odd turns, weird combinations of sounds and instruments, complex time signatures and a healthy dose of pure musical joy, all mysteriously sugared with melodic hooks that would stick to your brain like any annoying pop tune. As far as musical form and content goes, this can be said to continue with Phantom Stimulance. It's put together to celebrate Jono's 15 years as a composer and performer and 10 years as a band leader, but it's not a mere compilation. Recorded in Athletic Studio, home to great analog recordings by Supersilent, Motorpsycho, Scorch Trio and countless others, it's a collection of new versions of stage favorites and previously-unreleased songs as well as a brand-new song. Jono lists movements like Rock In Opposition and the Canterbury Scene and artists and composers like Frank Zappa, Stravinsky, Magma, Henry Cow and Gentle Giant as inspirational sources but has established his own signature with his latest releases and stage shows. Instrumentations and arrangements have become more adventurous, he has picked up the electric guitar again and successfully added a rougher edge to the ensemble sound.
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LP
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RLP 3106LP
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LP version. This is the third full-length release by Jon Andreas Håtun aka Jono El Grande, a self-taught composer, musician, conductor and prankster who remains an outsider on the far margin of the Norwegian experimental music scene. He released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening and a variety of pop idioms and featured a 9-piece orchestra. 2009's Neo Dada (RCD 2084CD/RLP 3084LP) was a masterstroke; brimming with creative ideas, odd turns, weird combinations of sounds and instruments, complex time signatures and a healthy dose of pure musical joy, all mysteriously sugared with melodic hooks that would stick to your brain like any annoying pop tune. As far as musical form and content goes, this can be said to continue with Phantom Stimulance. It's put together to celebrate Jono's 15 years as a composer and performer and 10 years as a band leader, but it's not a mere compilation. Recorded in Athletic Studio, home to great analog recordings by Supersilent, Motorpsycho, Scorch Trio and countless others, it's a collection of new versions of stage favorites and previously-unreleased songs as well as a brand-new song. Jono lists movements like Rock In Opposition and the Canterbury Scene and artists and composers like Frank Zappa, Stravinsky, Magma, Henry Cow and Gentle Giant as inspirational sources but has established his own signature with his latest releases and stage shows. Instrumentations and arrangements have become more adventurous, he has picked up the electric guitar again and successfully added a rougher edge to the ensemble sound. Includes mp3 download voucher for the entire album.
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CD
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RCD 2084CD
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This is the second full-length release by Jon Andreas Håtun aka Jono El Grande, a self-taught composer, musician, conductor and prankster who remains an outsider on the far margin of the Norwegian experimental music scene. When Frank Zappa asked Does Humor Belong In Music?, a certified guess is that many a serious music lover already knew the answer. But like Zappa, Jono understands the importance of timing, and as anyone who has witnessed his concerts can testify to, Jono is a humorist and slapstick entertainer of sublime proportions, his great forte being not letting it get in the way of the music. Jono El Grande released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening and a variety of pop idioms and featured a 9-piece orchestra. If Jono's prankster image and celebrity status in Norway has meant not being taken seriously as a composer, Neo Dada should set the record straight once and for all. This is an album brimming with musical adventure, odd turns, weird combinations of sounds and instruments, complex signatures and a good portion of pure joy, all mysteriously sugared with melodic hooks that will stick to your brain like any annoying pop tune. There are elements from the Canterbury and Rock In Opposition scenes and traces of artists such as Frank Zappa, Magma, Henry Cow and Gentle Giant, but Jono has taken large steps since his last record when it comes to establishing his own musical signature. Instrumentations and arrangements are also more adventurous -- there are more prog sonics mixed with impressive orchestrations, all performed with a theatrical, art-rock, tragi-comedic flair. Musicians include: Jono El Grande (vocals, guitar, various); Petter Sørlie Kragstad (keyboards); André Bongard (keyboards); Håkon Mørk Stene (marimba, vibraphone, percussion); Erik Løkra (saxophones); Embrik Snerte (bass); Terje Engen (drums); Hans Martin Austestad and Bård Bratlie (additional vocals); Ida Kristine Hansen (violin I); Isa Caroline Holmesland (violin II); Gunnhild Oddbjørnsdatter (viola); Lisa Isabel Holstad (cello).
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LP
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RLP 3084LP
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LP version on white-colored vinyl in deluxe gatefold sleeve. Includes voucher for free MP3 download of the whole album. This is the second full-length release by Jon Andreas Håtun aka Jono El Grande, a self-taught composer, musician, conductor and prankster who remains an outsider on the far margin of the Norwegian experimental music scene. When Frank Zappa asked Does Humor Belong In Music?, a certified guess is that many a serious music lover already knew the answer. But like Zappa, Jono understands the importance of timing, and as anyone who has witnessed his concerts can testify to, Jono is a humorist and slapstick entertainer of sublime proportions, his great forte being not letting it get in the way of the music. Jono El Grande released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening and a variety of pop idioms and featured a 9-piece orchestra. If Jono's prankster image and celebrity status in Norway has meant not being taken seriously as a composer, Neo Dada should set the record straight once and for all. This is an album brimming with musical adventure, odd turns, weird combinations of sounds and instruments, complex signatures and a good portion of pure joy, all mysteriously sugared with melodic hooks that will stick to your brain like any annoying pop tune. There are elements from the Canterbury and Rock In Opposition scenes and traces of artists such as Frank Zappa, Magma, Henry Cow and Gentle Giant, but Jono has taken large steps since his last record when it comes to establishing his own musical signature. Instrumentations and arrangements are also more adventurous -- there are more prog sonics mixed with impressive orchestrations, all performed with a theatrical, art-rock, tragi-comedic flair. Musicians include: Jono El Grande (vocals, guitar, various); Petter Sørlie Kragstad (keyboards); André Bongard (keyboards); Håkon Mørk Stene (marimba, vibraphone, percussion); Erik Løkra (saxophones); Embrik Snerte (bass); Terje Engen (drums); Hans Martin Austestad and Bård Bratlie (additional vocals); Ida Kristine Hansen (violin I); Isa Caroline Holmesland (violin II); Gunnhild Oddbjørnsdatter (viola); Lisa Isabel Holstad (cello).
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CD
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RCD 2031CD
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Jono el Grande: (guitar, harp, synthesizer, programming); Erik Løkra: (saxophone); Håkon Stene: (xylophone, vibraphone, glockenspiel, percussion); Tomas Gantelius: (piano, synthesizer); Karl Strømme: (trumpet); Kjell Tore Innervik: (xylophone); Kjell-Asbjørn Bunæs: (flute); Rolf-Erik Nystrøm: (saxophone); Håkon Thelin: (doublebass); Terje Engen: (drums). "Jono el Grande, born Jon Andreas Håtun (29), surfaced in 1999 with the LP Utopiske Danser ('Utopian Dances'), a kind of concept album where Jono delivered his interpretations of 'utopian folk music' -- a musical genre that only exists in the dreams of human beings (!). The album was both odd and quite reckless, but at the same time it was a promising collection of mildly absurd instrumentals recorded under the artists bed (!?) using primarily a workstation synthesizer. A lot of water has passed under the bridge since then and on Fevergreens Jono appears as a more complete artist with an uncommonly strong and personal vision.
Jono el Grande has no formal musical training and is a selfmade composer, musician and conductor. Authoritarian musical education institutions have never been his cup of tea. It is no exaggeration to say that Jono is a true outsider in the Norwegian music community, were most music outside the mainstream is made by pale young men with worried furrows on their foreheads. The concerts of the Jono el Grande Orchestra is quite a lively and entertaining musical rollercoaster ride. As a conductor Jono combines comic talent with Wagnerian patos and the ensemble has been a big live hit both in clubs and concert halls.
In many ways Jono el Grande's music has its origin in the early seventies, with references to Canterbury, Henry Cow, Frank Zappa as well as Burt Bacharach, Easy Listening and TV series music. It's both smooth and simple but also complex and cleverly arranged, a kind of light art music with hooks. Songs that in best pop manner crawl in through your ears and stick to your brain -- in spite of the intricate melodies and arrangements."
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