(Het Bimhuis in Amsterdam, 2016 )

I'm looking forward to perform with Jan Akkerman & Wiek Hijmans at Het Bimhuis on the 08th of September 2016 in Amsterdam.

Photo of Odd-Arne by: Aliona Pazdniakova

    ( NRK TV session 1990 )

From a NRK TV session 1990 with my Roland G707 guitar conroller (kind of underrated as an electric guitar ) and Roland GR 700 guitar synth.

    My Family in Turkey- July 2015

    ( September 2013)

Finally the work with the composition is done. I both hope and believe that John Dowland look with mercy upon me from where he is now. I hope and believe in it.

For two years I've worked with his music and I've tried to put his music into our time. His compositions seek to us today and has become my driving force. I will always have his beautiful melancholy and contemplation with me.
Later this fall Sempre Dowland will be presented at Tromsø International Church Festival and for students at the Art Faculty Academic / Music Conservatory at the -University of Tromsø.

    ( January 2013)

Composing music for string quintet-songoctet and guitar has of course been very challenging. John Dowland's songs are untouched.

My job is to put them into 2013 with reharmonization. That showed that several of his tunes are almost timeless. I find John Dowlands compositions both modern and timeless at the same time.

Several texts has Shakespeare's qualities. They lived at the same time in the same country, at times, there may be a link here - I wonder!!

    ( June 2012)

From the newspaper ``I Tromsø``

``Strike in Norway in June 2012 –unable to reach the concert `` I will be back``

    (March 2012)

There will be an exciting experience for me to do this concert with the choir Ultima Thule. Sparebankens Festsal in Tromsø is a venue I played a lot on in the start of my career in Tromsø.

I played very often in connection with the dance school ball. We started with the smallest parties in the afternoon until late at night with the sections of Ragnhild Skaanevik Dance School.

Pleasant and a lot of money for a `` young man with a guitar ', with a tired back the next day. I also look forward with to play a solo section with my own material on Thursday June 7th.
I also participated several times in Sparebankens Festsal with Tromsø Boys Choir, which I was a member of for five years.

    (February 2012)

I often think of the Celtic and British ability to create incredible beautiful melody lines.
It's probably no coincidence that British artists / musicians go to their roots such as Sting & Edin Karamazov (Lute) - John Dowland - Come Again - YouTube

The music in England around year 1600 reached an artistic level where the written word (Shakespeare), and composers / lutenists as John Dowland, brought the English music to a level that we still consider to be modern / timeless.
I envy the Norwegian officials who heard John Dowland in the palace of the Danish / Norwegian king Christian IV.

    (October 2011)

It was a special experience and play `` Project Obstfelder Tore Morten Andreassen Ord og stemninger (feat. Prosjekt Obstfelder) CD Baby together with Tore Morten Andreassen 41 years after I presented the project for the first time in NRK’s studio Tromsø in 1970 with Bjørn Adrian Andreassen (Tore Morten's father)on bass. .OAJ Band with Lyrikk of Sigbjørn Obstfelder-Voice John Ytteborg. Musikk OAJ

Sigbjørn Obstfelder was a lyrical musician in `` heart `` . He carried on giving poems / poetry that was decades ahead of its time. Edvard Munch saw early his talent.

    (August 2011)

I have recently been confronted with some sessions on DVD`s from NRK`s studio in Tromsø from 1970-1972. Its strange how close it sounded. Its the same ideas I'm working on today .

The journey was already set back then. There was no way to turn! Its nice to see that I stand for each note played on my Fender Jaguar and the Gibson Les Paul Goldtop in the years 1970-1972.

It was not played such music in this country at the time. We were very early with many things and thoughts in Tromsø in the early 70's .. In many ways anticipated we record labels such as ECM.

I moved to Oslo to study guitar and composition with an incredible visionary man, Bjorn Fongaard in 1973.

    (November 2010)

Im very happy to contribute with my experience and knowledge to young guitarstudents. My projects at the University in Tromsø has given me a lot.

It`s nice to be apreciated in my home town. I havent always apreciated the music culture in Tromsø, but now its starting to change.

    (September 2010)

Did all the guitars get of the plane?
This summer, I spent a lot of time to practice to use different registry's on my guitars.
Guitarists often overlook the deep part of the guitar register. There are many opportunities for guitar solos in that register, for example,with tenor sax / baritone sax.

I have also listened a lot to Mary Blige version of Harold Arlens immortal composition Come Rain or Come Shine.
I look forward to seeing her role in the film about Nina Simone.
Ray Charles would have embraced her - The lady has a huge potential as ... yes, a jazz performer. (Come on Mary) Mary Blige - Come Rain or Come Shine

Yolande Bavan singer/actress with a past in Lambert, Hendricks and Bavan, Shakespear etc.
I had the pleasure of knowing her for many years. Together with Lambert/Hendricks she did an outstading vocal performence. Here's a fantastic live recording with the trio: Lambert, Hendricks and Bavan
`` This is Jazz History.``

Yolande about Odd-Arne

Interview: Yolande Bavan

Yolande Bavan on Google

    (May 2010)
It was very special for me to play at Hålogaland Theatre in Tromsø 2 / 6 .
The theater is where I used to play as a child. As a musician, I am very privileged who can "play" my life and tell about my childhood in Tromsø.
I also visited Folkets Hus in Tromsø, I played here live in public for the first time as a 15 year old boy at a wedding. I Could swear that I remembered the sound of my Hoefner guitar and Wingtor amp (norwegian made) in the premises.

I did not know the author Cora Sandel had lived in the floor under my debut. There is so much you dont know!

    (May 2010)

Holtekilen collage of further
education 2009/2010 ( Music class )
Almost all music has its place. Many times I wish for a wider variety concerning instrumentation. More viola, violins, bassoon, upright bass, oboe cello, english horn, trombone and some saxophones please !

My dream: A string Quartet. Guitarists should sooner or later play with a string quartet, (Music for the silence minorithy) or spend a few sessions where the timing of the music is not ruled by bass and drums. ( Georgia on my mind )

Also to follow a conductor is often a shock to the guitarists who love Fermat and apeggio chords. When Im playing with Thomas R. Larsen, who I am supervisor for at the University of Tromsø, I am greeted by my past.

The theater where we're playing is located right near the house I grew up in. The theater is built on what in my childhood was a landfill. Sometimes culture can be built on garbage.

    (Janury 2010)
Its a great honour to come to my birthtown and pass my guitarknowledge to young guitarists. I was myself one of the first to study classicalmusic at the music conservatory around 1970. Since then I have never turned back. The music has brought me to places all over the world.

My first gig in Tromso stands as written letters in my mind. The strange is that I feel the same today that I did back then -full of wonder for what I do. Then as now I know what I must go home and improve for next time.

Oslo    (September, 2009)
Since my nice trip to New York in october/nov I've almost constantly play on my Gibson Birdland. A fantastic guitar with the caracter of a feminine mezzosopran. Im forever greatful to Hank Garland og Billy Byrd who had the visions already in 1955. Gybson Byrdland is a slim Gibson L-5 made after these gentlemas wishes.

The guitar world has so many different personalitys. When it comes to guitars there is one leading star Les Paul, who passed away 13/8-09. He's life work as a guitarist, composer and innovator with his Les paul guitar will always light up they who seek electric guitars. He was a great inspiration for me in my younger days. When he played I was sure the guitar was a unique instrument.

A diamond is gone. Thank you Les for all you have meant to me as a musician.

Oslo    (January, 2009)
This autumn has been one of the busiest in my life. Its been a lot of traveling, concerts and also the meeting with the fine guitar students from the music conservatory in Tromsø. Which Tore Morten Andreassen has brought to a high level. My hometown Tromsø has been my travel destination this fall. I hope I dont get a prophet in my hometown. I still got a long way to go. Thanks to all the peple who have given me warm feedback on my work. And thanks to my dear family who gives me love and support.

Oslo    (October, 2008)
I've had a wonderful time in Tromsø- the city where I was born. Meeting capable, young musicians is giving me a lot. It was a was a delightful experience to see the concert with "Music For The Silence Minority" and "For Strings Only" in Tromsø Kulturhus 20. september. For once, another person was playing guitar on my compositions. The following musicians were playing:

Violin: Mats Roar Sakshaug and Ruth Karlsen
Viola: Ekaterina Moskina
Cello: Sanna Andersson
Bassoon: Anne Schjønsby
Guitar: Thomas Larsen
Bass: Håkon Pettersen

In the second half of the concert I was playing a guitar duo along with Tore Morten Andreassen. It was a great experience to play with such a clever guitarist "who happens to be a musician". So we started to play and the music was just pouring out. xxxxxxx "The city big enough for us both. We could both ride into the sunset. " Playing guitar duo is something I appreciate a lot. Rune Gustavsson and me did mostly play jazz standards. Along with Tore Morten we’d played music from the original music material from “Apache” (Jerry Lordan) and “When I am Laid in Earth” (Henry Purcell).

Oslo    (June, 2008)
"It's a great pleasure to use my music when I get the chance. Norway is a special country to do music as a living. Im very honored over "Tir`d With All These" is found wourthy featuring the same programme as the japanese composer Toru Takemitsu and the acclaimd conducter/composer/musician Sunleif Rasmussen.
Here in our skinny country there is no big interest. The composition will also be presented in Copenhagen. I will never be a profet.

Oslo    (February, 2008)
I lost my keys to my apartment the day "For Strings Only" and "Music For The Silence Minority" was released. (29 jan-08)

Ive been thinking about the symbolic meaning of this. The moral is: Dont be to safe-things turn fast.When you loose youre keys, no lock is safe. The safety depends on possession of both locks and keys. For the record: Today I have new locks and keys. (As long as it last) Today I got my old keys back - but the locks have been replaced. Things changes fast.

I've also started writing the temporarily last arrangement for Guitar/stringquartet. The composition "AFAR" is arranged for a stringquartet,my Gibson ES-175,my ROLAND GR-33 guitar synth and my new POD X 3.

Oslo    (December, 2007)
Thank you to all of you who have listened to my music in 2007. I'm looking forward to 2008.

Once again the name of the song "I wonder As I wander" appears as a guiding star.

Tromsø    (November, 2007)

Not long ago I was working in Tromsø - my birthtown - where I got my own session at Nordlysfestivalen 2007. I also worked there in April 07 and did an Master Class.

Odd-Arne plays and gives master class for the guitarists at Musikkonservatoriet in Tromsø on 13. april 2007. The arrangement was open for both those studying classical guitar and those on the rythmic course. The spirit was high during the two hour session. The picture shows a focused Odd-Arne during one of his improvisations on his blonde Gibson ES 175.

I look forward to go back to Tromsø for the third time in 07 to meet my students face to face. I remember my first guitarcourse when I as a 14 year old boy borrowed my mothers guitar and grey raincoat that I wrapped around the guitar (we didn`t afford both guitar and a guitarcase) and cycled through quiet streets too the guitarcourse, wishing I had a guitarcase.

Faroe Islands    (June, 2007)

After my project on the Faroe Islands I clearly heard and saw what I must continue to concentrate on, both as a guitar player and as a composer.

Drawn north    (May, 2007)

After a period of many sessions with students I look with great joy toward my next project which will take place on the Faroe Islands with bassplayer/composer Edward Nyholm Debess. There we will be working with a nordic stringquartet. Having worked with projects and tours in large parts of the world, I find a growing pleasure over my nordic roots. The language on the Faroe Islands (and on Iceland) is pretty similar to how norwegian was spoken by the vikings up here north a thousand year ago. I am drawn north. That is where I have my memories from. That is where the dream I am living today was first conceived.

Shifting Horizons    (March, 2007)

After the Nordlys festival I have worked through some interesting psychological landscapes. I have reset my goals and are now on my way towards new horizons. They are always shifting.

Nordlysfestivalen    (January, 2007)

To open Nordlysfestivalen was a moving experience for me. Not least because of all the music-lovers that came with an open mind and received me like one who returned home, which in a way I did.

Mentally it was insanely demanding to lift this up to the level I feel I reach for (I hope I never get all the way there). My ensemble (Pål Magne Solbakk and Øyvind Mehus on Violin, Johannes Skyberg on viola, Hans-Urban Andersson on Cello, Knut Thorbjørnsen on Bassoon) was positive from the moment we started rehersing at Musikkonservatoriet in Tromsø. Fantasticly warm and kind people. A stringquartet with high love factor towards music. With all my heart, I thank you.

Edvard Nyholm Debess is not only a fine and warm friend and an outstanding musician, he also turned out to be a virtuoso with the glue when my Alto guitar "lost a tooth" where the deepest string rests above a piece of ivory next to the headstock. Thank you Edward for putting all of yourself to disposal for this project.

Full Circle    (November, 2006)

This autumn I Have completed writing "For Strings Only". It has changed the way I view the guitar. Most composers are piano players. With regards to voicing and such, the guitar is a completely different story. This gives me a challenge that sometimes seems overwelmingly great. But the guitars and the lutes travels through the centuries are on my side. By listening, the memories of what these timeless instruments have "seen and heard" surface. When playing in Tromsø Kulturhus, I will be confronted by many old memories. The house is erected on the spot where Tromsø Arbeiderforening once stood. That is where I played my first "real" concert, as a boy with Amorada.

I still feel like a boy each time I play.

Summer Reflections    (July, 2006)

I now take a couple of weeks off from what I usually fill night and day with; Music. Recently I have listened a lot to the music of Burt Bacharach, Tupac and the swedish barytonsax player and composer Lars Gullin, along with the music by canadian pianist Glenn Gould. The three latter have already left us. Tupac said it himself (Thugz Mansion): Just think of all the people that you knew in the past that passed on, they in heaven, found peace at last".That I am sure pianist Glenn Gould has found. He appears to me as one of the big toneartists of our time. When you hear Gould play music by Orlando Gibbons or music by J.S.Bach, like "Die Kunst Der Fuge", you experience that you are listening to something that trancends space and time. No timeperiod, no instrument, just pure and clean beauty.
I miss Gould, Gullin and Tupac. They have all given me power and inspiration to go the distance. They have all the time in the (other)world to play together. They deserve it.
This autumn, from August, will be spent on my big project in January 2007. I will present myself as guitarist and composer at a big norwegian festival. I will also be holding several concerts on the Faroe Islands. Thanks to everyone who has sought out my music and found it rewarding. Have a good summer you all.

Festival Meditation    (June, 2006)

A month ago is was decided that I will contribute to a serious norwegian festival. An evening with focus on my art as a guitarist and composer. I don't have much routine in playing on norwegian festivals. I have throughout my life worked with the wind blowing in my face, also on all my international projects. This has made me very sensitive to impressions that meets me from that direction. It was very challenging to be offered such an opportunity. I experienced a renewal. The wind is changing. You must sense and feel differently with the wind blowing in your back. It is easier to use your wings going against the wind. You are lifted, if you like. At first I experienced an anxiety for "not getting to experience this". You must be punishment a little, you must not believe that ..... . The wind from behind is registered. I must look behind me when working too. All impressions are not coming towards me, but also with me.
Prosperity is very unfamiliar to me and very challenging to handle. I comfort myself with the knowledge that the doors in the house of reminiscence are without locks. I rejoice over it now.

I Wonder As I Wander    (Dec, 2005)

Christmas is for me the time of year when I strongest feel my european cultural inheritance. In all the music from the middle ages, the renaissance and the baroque one can sense a gradual evolution. I thank all of you who have visited my web pages and shown interest in my artistic work. I wish you a happy new year and a quiet christmas.

The Art Of Duo Playing    (Autumn, 2005)

This autumns duo projects have been an enormous challenge for myself as a musician. With Alexei and Edvard things have been distibuted with regards to voicing, bass lines and such. With Fred it became a different and very demanding open landscape with a more "pianistic" approach to the guitar. My Gibson ES 175 with a Roland Guitarsynth GR-33 and a BOSS Guitarprocessor GP-6 has actually tought me a couple of new things. Therefore I feel fresher and younger as a musician after coming home after this autumns last duo-project.

Third Russian Norwegian JazzFestival    (Oct, 2005)

It was a nice experience for me to play with such a talented collegue as Alexei Kuznetsov. Besides being a shining jazz guitarists, he is also one of the most generous persons I have met. We have both already decided that we don't want this to be the last of it.
This concert was in the clear tones spirit. No effects, just pure guitar sound.
It has become clearer and clearer to me that guitarists must pass an artistic level to begin to be called musicians. Alexei is a musician I have the utmost respect for. A gentleman.

Convicted - Acquitted    

Here is a link to an article in norwegian Odd-Arne wrote in 2000.

For Four    (Feb, 2005)

After having worked with a lap hymn, "Gaehtjit-Gaehtjit", which I "orchestrated" for guitar, having worked with L. Bernsteins music for West Side Story and finished off writing "For Four" for four guitars, bass and percussion, I feel just about disarmed and reset. In phases like these I ask myself: "For whom and why am I doing this?". To this day the answer comes to me after tough periods. The day the answer doesn't appear, I will quit.

Gratitude    (Dec, 2004)

I thank with all my heart all of you who have shown interest for my musicianship this year. I have recently finished a new piece for four guitars, bass and percussion. There is a Tango, a Jazzballad and an up tempo modern Bop tune.

Robert Johnson    (Dec, 2004)

This is a picture of Odd Arne in Dennmark Street in london dec. 2005. "It is important to know your price, even if you are not for sale". I find Robert Johnson, in the background, to be one of the most visionary bluesartists with a guitarstyle that pointed years ahead. A guiding star in courage and uniqueness.

Joni Mitchell    (Dec, 2004)

Some artists you just take for granted. They are there, good, better or best

One artist that has risen for my inner ear (and outer) is a lady from Canada (with norwegian roots), Joni Mitchell. Her "Both Sides Now" album with beautiful orchestration and arrangements by Vince Mendoza has filled my little music room for quite some time now. When Joni sings "A Case Of You", I believe what she says. She has conveyed her life in music and written so painfully beautiful about .... Canada?

Kathleen Ferrier    (Dec, 2004)

I find much of the history of the Tower Of London to be filled with human degradation - killings and injustice.

It is with great pleasure I got my hands on music performed by contralto Kathleen Ferrier. I have allways seeked the altsegment on my guitars. When Kathleen sings "Down by the sally garden", the silence after the last note can be taken. That characterizes all great sonic art. I understand more of what frasing means when I hear Kathleen sing. She gives me inspiration and power to keep going in a, in many ways, lousy musical community in Norway.

Chinese Culture Festival    (Sept, 2004)

When I participated at the concert in Oslo 25. september 2004 I noticed that I was announced as "one of the leading guitarists in Norway". I also noticed that a prominent representative from Rikskonsertene were present. "Artistic consultant" was his title. In 1998 he was consultant and adviser for NORAD (foreign aid development) and thought I couldn't go to China because, as he said (about me and my music), I weren't successfull in all aspects. Personally I have never in my short life (56 years) met anyone who is. I got to go to China anyway, and finally, I weren't asked by norwegian norwegians to participate in this chinese culture festival, but by chinese musicians. The music survived power hungry bureaucrats who tried to control something they never will come close to grasp. They neither hears nor sees. They only have their power, and that is something one grows poorer and poorer from. I have clear opinions about people that should keep away from the norwegian culture scene, and I remind you of this article I wrote in norwegian in 2000. Many people ask me what I myself do about this. The answer is that I do something about it every time I play.

Music For The Silence Minority    (June, 2004)

And then, "Music For The Silence Minority" belongs to the infinite sea of tranquillity, like so much other music does. Like all things you cherish and love, there is an empty space in your soul after they are gone. I am presently totally reset, and don't have many oppinions. I mostly sit and improvise, waiting for some chords or lines to show me a way. In august I will start writing for four guitars, bass and drums. It will be neither "For Brothers" nor "For Others". Maybe "For Mothers"

Solorecital in Lommedalshallen    (April, 2004)

To play a solo recital is really being an illusionist. You think orchestration, but are bound by the guitars possibilities with regards to register etc. I don't think classical guitar here, but improvisation art on the guitar appears more and more like a diamond in musical and artistic context for me as a guitarist.

With being an illusionist I think back on a fine bass line I carved out of the "sea of tranquillity" on my solo concert in Lommedalshallen 24. April 2004 on Jerome Kern's "All The Things You Are". I released it, moved my way up towards the 12. band on the guitar. I pictured it mentally as something that moved beyond the guitar and I could have sworn this bass line moved further out in the room. The audience would agree. I have finally become an illusionist, and being this makes me very humble. The spheres of music is a layer of air high above, and it is important to ascend gradually to not loose consciousness. Consciousness has become my roadmap in a landscape in which I many times find it hard to navigate. Ascending gradually is important.

Villagers And Villains In The Town Of Cardamom    (January, 2004)

After having worked with the music for this play (which every adult should look at as for adults), I have reflected on how difficult this music is. Most people would say "easy childish music". But the fact is that everything that shall be done professionally with the heart requires about 167%. My oppinion is that everything requires max guts. There is much snobbishness among socalled "topp musicians". They should sit down in the orchestra pit for a while and think ensamble. In case you on the spotcannot accompany "happy birthday" in all keys to satisfaction, you have not payed attention at school.

Romerike College Of Further Education Project     (January, 2004)

I appreciated my project at Romerike College Of Further Education 9. january 2004 a lot. To meet and work with musicians in their novice years is a big challenge. Not least in the border district between crushing dreams and encurraging those with talent. I always become wistful after my concerts, in many ways meeting myself with very good musical qualities and those sides of my musical carreer that clearly tells me what I shall drive home and work harder with.

Lately I have listened a great deal to Maria Callas and Eva Cassidy, two appearently different artists. But they had in my oppinion much in common both in musical expression and in destiny. We needes them both. They both went far beyond what was considered common, and they both paid a prize for shielding something that should be cheered. There is only one of each of us.

Wood-Winds and Strings completed     (September 7, 2003)

I have now finished writing Wood-Winds and Strings for a woodwind and guitar. As I chose to use an earth-flavoured sound on this piece, I hope it will sound good with alto flute, clarinet, guitar, englishhorn, horn and bassoon. Right now I'm looking forward to some time solely dedicated guitar playing.

On confidence and expectation     (June 6, 2003)

When I relize that a lot of people place a lot of confidence in me, such as letting me play at the Munch museum in close proximity to the spirits of Edvard Munch and Gustav Vigeland, I am suddenly overwhelmed by a familiar feeling. It's a feeling composed of both creative anxiety and heavy expectation, very much like the feeling I had when playing at my very first gig in Folkets Hus in Tromsø, Norway.

At that time, I played together with my uncle and accordeonist Harald Hemingsen, at a wedding. This first experience with all the magic and surprise that music as an artform has to offer, has ever since become one of my guiding stars as a musician living in a country very scarce on musical commitment. Let's hope the future holds as more than it would seem at the moment.

Views and opinions continued     (March 16, 2003)

Working as a musician in Norway is a great challenge. Few, if any, of our politicians advocate cultural spendings, and it seems that all our political parties are careful to confine their cultural ambitions to the paper these are written on.

Last year I mentioned that it took Japanese currency to revitalize the neglected and disrepaired Munch museum in Oslo. As it happens, my 15 year old son Jonas plays soccer on the same team as Kristin Halvorsen's (leader of SV - Sosialistisk Venstreparti) son Håvard. The other day I met her in connection with both of our sons leaving for a soccer camp in Denmark, and I gave her the following challenge: If SV get's the minister of culture at the next election, the money recieved from Idemitsu Petrolem Norge AS for renovation of our musem, should be paid back with interest.

These last days since the burglary I've spent filling out forms and sending them to Sparebank1 and the police. After being lifted of all those instruments, the case has now been dismissed by the police, and the insurance company has made me doubt the very concept of "insurance". The damage was estimated to NOK 84.000, but Sparebank1 has offered me 20.000, less than one fourth of the actual sum! After many years with insurance premiums, I was now attempted humiliated by an entirely ungifted executive. Needless to say I am no longer their customer, and will go another round of paperwork in order to appeal the decision. I fear that the outcome would have been more favourable had I been a financial tycoon or somesuch. But, on the other hand, being a musician in a long and scanty cultural nation this far north, does believe it or not, have it's moments. Maybe just not in moments like this.

I still keep trying to find a Norwegian choir for Tir`d With All These. But it seems to me there is a widespread anxiety in Norway towards accepting composers who are not "in". If anyone out there in the rest of the world would like to do something for mixed choir-guitar, I'd very much like to hear from you.

Meanwhile I spend my days trying to become a better musician: Practice! I'm very happy that I havn't reached my "peak" as a musician yet. In fact, that's a feeling I sincerely hope to avoid all together!

Views and opinions on the Norwegian music life     (September 3, 2002)
In April 2000, I wrote the article Convicted - Aquitted (Norwegian only), for NOPA, Norwegian Society of Composers and Lyricists. It's a critique of the way the Norwegian music business works.
The article will soon be translated into English, and put on this page.

Most special session      (September 1, 2002)
Saturday August 24 was one of the special sessions of my life. I was playing in my daughter Alise's wedding. First together with Londonderry Air in Sagene Church. Then, at the wedding party, the bride sang three jazz standards with her proud father on his ES 175.
The songs:
I am so Lucky to be Me (Leonard Bernstein)
Love is Here to Stay (George Gershwin)
Come Rain or Come Shine (Mercer/Arlen).
Writing     (July 2, 2002)
After I started writing my new piece for Fagotto & String Quartett & Guitar, most of my days are spent composing. The process is moving along well. I find it rewarding to collaborate with the performers during writing, and be chance Sigyn Birkeland (Fagotto) lives next door. I don't think there exists any music for this instrumentation, even worldwide. If you are interested, please email me on o-jacobs@online.no.

After writing Tir'd with All These for Mixed Choire & Guitar, I saw how insufficient the music litterature is when it comes to orchestration including guitar. I feel that I've started trying to remedy this situation.

Even though I've written for string quartet before, I'm back to zero when starting to write each new piece. Likewise, when I do my daily spell on my guitars. It makes me wonder if I ever get the feeling "I know how to do this".

Japanese Yen saved the Edvard Munch Museum. I dream at night that our Minister of Culture (actually Church and Culture), will grant the money, sending it with interest back to her Japanese collegue, saying thank you for the loan.

I would like to thank all you people who visit my site. In the beginning of August I'll be back from Portugal.
My beloved family, at Christmas Eve 2001.
From left: My wife Kari, daughter Alise, son Jonas, and me.

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