Joel Grip makes music with transforming character. His main instrument is the double bass, but every now and then he plays the cello. All is considered as useful input signals in the, most often instant, making of his music. Let’s call it improvisation. It is, for him, about precision and timing; when you do what, and about questioning and making use of knowledge (ideas, habits, traditions, experience, deliberation and intuition).
When performing, Joel Grip plays with the idea of positioning himself on a musical swing in-between balance and no balance at all. To do so, individual and collective listening and trust are implicit. He is experimenting with forms in which collision, confusion and reiteration are given room. How to surrender and resist simultaneously in the pluck of a tone? His music is also celebratory, not excluding humor.
In order to make music in a transformative way, it benefits from the regular confrontation of an audience. Joel Grip has always been active in initiating collective efforts of organising social and functional environments for music-makers as well as listeners. This has enabled a reverberant learning process in which musical ideas are continuously developed, executed, and rehearsed in an inclusive, direct and communal atmosphere. The particularities of most groups Joel Grip is involved in have been developed (and is being developed) in this way.
After studies in Sweden and Baltimore, USA (with Michael Formanek), Joel Grip relocated to Paris where he in 2007 opened up for Umlaut Records (established in Stockholm 2004) to become an artist run label and festival organiser. Ever since the collective work spread to Berlin in 2009, Umlaut Records have had important impact on the pan-european scenes of creative musics. Joel Grip is/was the cofounder and main producer of festival Hagenfesten in Dala-Floda (since 2003), NGO Public Health Music (2005-2008), and film production company Umlicht (since 2014). Since 2019 he is collectively organising weekly series of music, as well as productions like Marsmusik, under the name of Au Topsi Pohl in Berlin. Apart from his musical activities, Joel Grip makes films and drawings/paintings. His working base is currently Berlin.
Active in groups Herr Borelgrip, اسم [ism], أحمد [ahmed], Klub Demboh, Tribute to Sheep, duos with Tristan Honsinger, Seymour Wright and Takako Suzuki, Blythill, trio with Sven-Åke Johansson and Bertrand Denzler (Neuköllner Modelle), and Peeping Tom.
and yes, what more? before the dawn of ninikotati, Joel Grip hither herum zum vergnugun la dition putt putt amori, kanel tiger laboratoar. schnod per forum autops inteligentsia and the moo pee wee, see a lot in och uf, snedtrodd men möjlig att böna, sen som spurten innerhalb cellunious choufleur acent kette et knete, a realisation!
and he did a good job doing what he thought was not doing what he was suppose to dawn fall per capita und reunion a nourrir quoi?
i don't know, yet! but träslöjd var il gut am vågel. don't sperrholz me, inderictly. mug me corner pocket right kopfsundaimas. suedenjindes. ka?
amori san wa chtel eier billig but belånad.
otherwise, plays at his favorite venue au topsi pohl as much as it's impossible to not play more. and extremely lovely is it, yes, det är det, att to zu spielen mit and music making with rhytmus section batteur with his sticks attache to ideas and velour, antonin gerbal, in various and historic bands and friendly imidieate doing, thingking, reacting, making for example, peeping tom, ahmed (more on this below), ism, nakasanye. long gone have they tarvelled and worked also in cluj napoca, and the village of paris.
joel grip grew up in stockholm, schweden, und danach later on also lived and studied (with Michael Formanek) and arbeitete in baltimore (2003-2005, years in which umlaut enstanden), in the united states of amrica, shortly before he parished in parsi, la franch, to meet and develop with together he also met and played and träffade, joined up and gatehred and made idaes idem with francophonografs to become umlauters amoing toher thims (the umlaut record label as a collective thang starts here, around 2008?), eve risser, pierre-antoine badaroux, pierre borel and many amany the inhubertchicated wunderbare scene druch marc fevre's atelier tampon (didier lasserre, claire malchrowicz, jean-luc guionnet, bertrand denzler, alan silva, yann joussein, silvia tarozzi, oki itaru).
his duo herr herr borel grip.com and with him who he is doing this duo, namely, pierre borel, doing saxophone, at his very best, it is very good, they played togther a very match and intensivley, most certainly you saw them traveling by train, hin und zuruck. here und their. now they will relreaes there, th, first album it is a LP, come il faut, avec plein truc dedans, wooden clogs etc, lenovo did not sponsor them even though the u don t kno what thej a missin. the great european stool sample is the name. look out for it.
pierre also plays in klub demboh in berlin, we are a many peoples doing that sinve three eyars now, every monday and every now and then festivals and tours, a group iinvented imagined and administrated for long, now i am somple swiming below the waterline togheter with everybody with lime and lister, it is a extraordinary plyphonical pnetacoastal tribone volumtuous sincere and bearucratic children choir of audiovisual sorts. tristan honsinger tought us a lot, and we missunderstood a lot and understood a little of we all had to say during long and continue to do so at the wönderhausen petersburg art (kunst) space (raum). frauke nowak, carina khorkhordina, axel dörner, michael griener, mia dyberg, marie takahashi, antonio borghini, anil eraslan, korhan erel are also part of this ammerture.
joel grip, the alte schwede, plays with an even more old swede, and great visionary pelous time-warp neighbour of skinnarviksberget i stockholm, berliner sven-åke johansson in many groups and bands and variations and zykons of games and brushed eggs of derived future: duo, neuköllner modelle, trio with rüdiger carl, and making films are they also even if it takes long to transalte their denken into englisch. they had a trio with fabulous, sadly dead, pianist Herman Keller, celebrating the music of the swede's friend and inspiratör (ear opener) Per Henrik Wallin.
but before all this, many a thing was happening also. a little von that i will tell. like how musoc became pössible finding out other worlds of pössibilities with stockholm kids sharing the angoise, maybe, of learning jazz in institution - it was also some goof d sings with that - aber nicht nur - i tell - you - yes, we made in teh end our own. it. we maked our own, the music! with bests, niklas barnö, sofia jernberg, and then alsodears jeppsson, jontehös, andreas nyman, jens linell, niklas persson, lars åhlund, and ja många såklart, in the end we ven managed to start the festival, becmong improtant for yanger jenerasions and older for that cause (i'll come to that later, for now we can mention Roland Keijser, Mats Hellberg), Hagenfesten in Dala-Floda (first edition 2003), at my mom's farmhouse. It went well for long time. Still melting down the images and memoirs until next time of appearing. important place and combination of energies, this place, ues, come again, please, for international growing ground de musique a faire. ca crée des vagues, en france, pologne, allemagne, suede biensur, but also en england.
in england live pat thomas and seymour wright. also other people live there, but anyway, toghter with them antonin gerbal and me (after playing in trio with pat for a year or so) jumped high of happiness thinking about the strong ideas of re-imagining jazz through/via/with/without/ the works of ahmed abdul-malik, and idea of seymour, and yes, so we met first time in london for a session, then performing at hagenfesten first time under the name of Ahmed, and the highly trancogenique patterns and ideligen återkommande men alltid anders, danceable thoughts or viceversa thoughtabel dans was born. ahmed a love to play. i. now two vinyl releases are releases on releaseable labels umlaut and otoroku. we continue to play alot as much as a lot aloowws us to define alot as less than let's överdriva, ten concerts per year. it's is getting there and it is getting more and more exciting, the music and the thuoght of doing it. being and becmon ing it. as you want. even a joint band togheter with the master musicians of jajouka led by bachir attar is on its way. hold your horses! and let them go. yes, it will häppen. at least in our minds.
then i met prune, later on. bécheau, the violinist. we plaued a week at au topsi pohl among other thigns. we wrote and are writing operas, in this bar. and i join her urs graf consort every now and then. it is fabulous compositions, heavy popular, melodi, schwan, und bass. and then we do play gut strings both, it is a hell of a sounds, we got it, in our duo, called Tribute to Sheep. please, have it a listen. htere is notting to listen to online, yet, also nothtting to hear on tape, but come on out when we play live, it is really nice, stinky like rotter intestents. we'öö ll record something on eday, i'll lett you no.
in berlin where he, joel grip, why do you speak about yourself in third person, it is dum ,a nd funny, maybe htat's waj?, where was i?, yes, in berlin, wehere it is at tim of being, but also (don't worry swedish tax office, and arts council of sweden) i also spend my energy in sweden (swedish also), also i live there i do i do , no i don. t o be honest here is grate, in berlin. since a year now (march 2020), i make music happen on reagular basis in the hansome bar in schöneberg (offically tiergarten-süd) au topsi pohl. this is a krfatfull collective work by loved ones franziska hoffmann, antonio borghini, mara orrichio, laura sanson, veronica tolosa. the idae to furnish a place for reagular (weekly, but also monthly) concert series seem to be the way to go these, days (who want to travel for 48 hours r/t to play 30 minutes gig at a festival when you can do it in your local kneipe, everynight, like the good old days? - yes we are a bit sentimental, but it works, i'm telling you, music need regular appearence, not just once in a while, specieally when it comes to try out new ideas).
with the stool and the lying down stool, the band name translated into english, of the duo of Joel grip (in third persion) and tristan honsinger (in first persion); in french chaise und chaiselongue. we played a loth the last five years, not only in duo, but i must say it is great. thankful i am to learn and to live close to the mind of that (yes I am gonna use that word) Unique foot and eyebrows of movement and sound, text and mime malonga. yes, master he is. he is now tomatoing trump in U.S.A. among other things, and we are working on a bok, oo, with his dialogues, and my drawings.
in berlin i learned to play the cello (ha!, yes, and no, but ) i am learning it stil, don't woorryy, and a group in which it is being tought, is the Blythill group, here we find a nice belnd of berliners and marseille jumpy musicians of some serious beauty and funk: Michael Griener, Simon Sieger, Pierre Borel and myself. we play and jazz from the glorious 80s (and late 70s) of Arthur Blythe and Julius Hemphill.