Born: July 29, 1986 Primary Instrument: Trombone
Henrik Munkeby Nørstebø is a Norwegian trombonist mainly involved with different types of improvised music. He is currently living in Oslo, where he is doing a masters degree at the academy of music and working as a freelance musician.
An ongoing love/hate releationship with the trombone has led him to explore both the boisterous and brassy side of the instrument, as well as the microscopic and ‘electronic’ sound possibilities. His varying interests comes to play in bands/ensembles playing music ranging from so-called reductionism and free improv to free jazz and contemporary composed music.
Henrik currently plays with improv trios As deafness increases, Lana trio, Virvl (with Tobias Delius) and Strid/de Heney/Nørstebø, new music ensemble “Aksiom“, freejazzpop-band “Skadedyr” and chamber jazz group “Dan Peter Sundland ensemble“, in addition to duo collaborations with a.o. Daniel Lercher (laptop/Vienna), Adrian Myhr (double bass/Oslo), Rasmus Borg (piano/Stockholm) and Nina de Heney (double bass/Gothenburg)
He also performs as a solo improviser, and have played solo concerts in Berlin, Bad Oldesloe, Vienna and Barcelona, in addition to around Scandinavia. The cd “SOLO” was released on the Portuguese label Creative sources summer 2011.
In addition, occational collaborations or ad hoc with (a.o.): Lene Grenager, Michael Duch, Tobias Delius, Klaus Filip, noid, Bernd Klug, Frøydis Dahlø, Finn Loxbo, Kristian Tangvik, Johannes Wakolbinger, Viktor Perdieus, Ivar Grydeland, Vojtech Prochazka, Rosi Rehformen, Tore Sandbakken, Sofia Jernberg, Kari Rønnekleiv, Kim Aksnes, Petter Wästberg, Morten Barrikmo, Espen Reinertsen, Eivind Lønning, Anna Högberg, Naoko Sakata, Thomas Jäderlund, Moritz Zopf, Maria Norseth Garli, Tryggve Lund, Danielle Dahl, Niklas Adam, Isabel Sörling, Christian Meaas Svendsen, Joakim Heibø, Andreas Wildhagen, Kjetil Jerve, Dan Peter Sundland.
Nørstebø finished a bachelor degree in music performance (improvisation/jazz) at the Academy of music and drama in Gothenburg spring 2011.
Chain D.L.K. (USA) (…) this release by the young Norwegian improvisational trombonist Henrik Munkeby Nørstebø, an up-and-coming star of the scene in my opinion, goes beyond any dictates coming from musical trends, marketing pithy sayings or even social prejudices as some listeners joke on trombone considering it a musical instrument for beggars.
The New york city jazz record (USA) – triple review; Hubweber/Nørstebø/Thewes More so than most brass instruments, the trombone has the structure to be used as a solo instrument, yet, as these choice examples of contemporary Europe an solo trombone discs make obvious, careful planning as well as limitless chops is needed to make things work. (…) the exposition is dedicated to fully formed vibrations resulting from a blustery chromatic tone and tongue stops. Utilizing extended brass techniques ranging from wide-bore blowing to expansive throat tightening, Nørstebø produces any manner of textures from his horn.
His voice magazine (Czech republic) (…) as if music for solo trombone was the most most common and popular thing in the world. The album as a whole is simply a full-blooded testimony of a very promising musician and one of the brightest indications that the Norwegian avant-garde scene isn’t leaving it’s internationally dominant place.
Jazz alchemist (Poland) (…) Nørstebø’s improvisations have a strong narrative core, cohesive yet opened form. (…) creates a set filled with unlimited immagination, rich in colours and ideas. His playing is a study in the creativity (all the unconventional techniques) but there’s a clear in goal in his experimentalism – and that is to create music (and not to impress – in fact he’s playing tends to be modest, he prefers the charm of subtlety). Honest, varied, intimate, sometimes refreshingly surprising, sometimes soothing the mind (track 10!). A brilliantly played album.
Squidco (USA) Lyrical and quirky free improvisations using extended techniques. Humorous, frightening, and profound.
Improv Sphere (France) (…) makes this solo work personal and original, which affects the body of the performer rather than his intelligence, his intimacy without falling into an abstract introspection. The ten pieces are varied and virtuoso of course, but they each have their world that is not empowering, but rather seems to come straight out of the body of HMN.
Nordische musik (Germany) Fame and money are obviously not Nørstebøs motivation