???“SHALL I PROJECT A WORLD”- Biography of Eivind Aarset, Guitarist.Eivind Aarset is a guitarist with a unique musical vision that absorbs and reflects all manner of music while retaining an enviable individualism and high quality craftsmanship that can span from quiet intimacy to searing intensity. His debut as a bandleader on Jazzland Recordings was described by the New York Times as “One of the best post-Miles electric jazz albums,” setting a high benchmark that Aarset has consistently met and exceeded, both in the studio and in live performance.HISTORY:As one of Norway’s most in-demand guitarists, Eivind Aarset has worked with Bill Laswell,, Jon Hassell, Paolo Fresu, Mike Mainieri, Bendik Hofseth, Russell Mills, Arve Henriksen, Nana Vasconceos, Arid Andersen, Brian Eno, J.Peter Schwalm, Punkt. Talvin Singh, and Marilyn Mazur, He works regularly with Nils Petter Molvaer’s band, (appearing on all of Molvaer’s albums, including the breakthrough album “Khmer” and 2006’s award-winning “ER”). He also is a regular collaborator with Dhafer Youssef, both live and in the studio.Aarset’s musical awakening happened when, at the age of 12, he heard Jimi Hendrix. “I started on the guitar as soon as I heard him,” he recalls with a smile. “I bought a second hand Hendrix record and that was it. Then I started getting into rock bands like Deep Purple, Black Sabbath, Santana and Pink Floyd before my brother introduced me to the music of Miles Davis, the Mahavishnu Orchestra, Weather Report and Return to Forever. After a while, I got into the ECM sound of Jan Garbarek, and Terje Rypdal, who was a big influence. Then I went on the road with a fulltime heavy metal band, a fantastic experience, until I got tired of being angry every night! Then I quit and became a session musician.”As part of the band, Ab & Zu, he created the unique guitar style and sound he would later develop further as part of saxophonist Bendik Hofseth’s group. However, it was his involvement with Bugge Wesseltoft and the Oslo Jazz underground that crystallized the sound he was seeking: “What drew me to this music was the hypnotic grooves and musical freedom I found,” says Eivind. “There's no established rules or tradition in what I am doing, you can make the rules up as you go along. Rhythm is the centre of the music, the landscape the soloist travels through. It's fresh territory and I have no idea where this scene will end up, but there's a lot of great sounds and new music being created which makes it such an exciting scene.”ELECTRONIQUE NOIRE:In 1998, Aarset released “Electronique Noire”, his debut as a bandleader, and among the first Jazzland releases. Critics cast about for description that fitted the album: “Post rock”; “Nu Jazz”; “Post Miles Ambient”; and “Drum ‘n’ Bass Fusion” are among the many efforts, yet none truly captures the unlikely match of diversity and coherence that the album displays. During this time, Aarset was working and touring with Nils Petter Molvaer, recording on the trumpeter’s landmark album “Khmer” (and each Molvaer album since). As Molvaer broke through, gaining an international listenership, many fans found their way to “Electronique Noire” and the initial, mind-bending impact of the album opener, “Dark Moisture,” is still a popular topic of discussion among Aarset fans.LIGHT EXTRACTS:The next album, “Light Extracts,” had much to live up to, and did not disappoint. Again, ambience and club rhythms were present, but the music was becoming a truly separate organism. Where “Electronique Noire” has tracks that could be individually described in terms of genre(s), “Light Extracts” offered music that could only be described in terms of “Aarset-ness”. The album features the bass clarinet of Hans Ulrik, an artist Aarset met when recording with Marilyn Mazur’s Future Song; Ulrik’s sound would lend the album a whole new dimension, and he has appeared on each release since. Aarset retains melodic elements, and uses sound as poetry or painting, somehow anchoring it in definite imagery rather than the abstract. Of course, many critics visualise a wintering far-northern Nordic landscape, complete with fjords and whalesong; however, the soundscapes could equally represent deserts, jungles or even desolate alien mountains. The music speaks to a universal spirit.CONNECTED:“Connected” marked yet another leap up on Aarset’s evolutionary ladder and sits like a prelude to a manifesto. “Connected” perfectly captures Aarset’s working method. His musical world is uniquely his, and the vocabulary of his guitar describes it as no one else could. The music has become self-referential, yet manages to retain warmth and openness. The overtly club music aspects of the sound have been fully consumed, and are accompanied by a new glitchiness, courtesy of Jan Bang, Erik Honoré and Raymond Pellicer. Aarset’s reflexivity progresses boldly, offering “Changing Waltz”, a variation and re-visioning of “Empathic Guitar” from “Light Extracts”. Unburdened by the history of electric guitar and guitarists, Aarset erases any of the potential egoism of being a guitarist with a Zen-like calm in favour of stronger musical statements. In addition to Hans Ulrik’s clarinet comes Dhafer Youssef’s oud and voice, bringing the electronic and the acoustic to a new equilibrium rarely achieved.PRESENT TO FUTURE:Most recently, Aarset has appeared on the album “Jazzland Community”, a document of the 2006/07 tour featuring Bugge Wesseltoft, Sidsel Endresen, Håkon Kornstad, Marius Rekjø and Wetle Holte. Two Aarset tracks appear, “Connectic” and “Electromagnetic”, and two ensemble pieces: “The tour was a great experience for me,” says Aarset. “I loved the way our different styles and concepts worked together and came out as a whole unified concert, not just different acts in one show. And the collective improvisation at the end of each concert was amazing. It was always happening.”Aarset’s next album, “SONIC CODEX” is due forRELEASE in AUTUMN 2007