root salad Trio Mio
Dance is at the heart of the music of this Danish/ Swedish band, hears Chris Nickson
founder of Trio Mio. “It’s not just in the country, it’s happening in the cities like Copenhagen and Odense, and these are students, hipsters, young people. It’s a con- scious way of being social in real life, not a digitised life. They’ll get 100 or more at the dances. It really is a revival.”
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But dancing is important to her. She grew up involved with both music and dance, and on the band’s new album, Poly- glot Pike, the music glides and twirls in delicious spirals. Even the video for the track Toscana Return Ticket features cou- ples dancing.
Dance is at the heart of it all, built on the knowledge of the members’ Danish and Swedish traditions. From that foundation they’ve created complex pieces with quick- silver arrangements as instruments dart in and around each other – yet always with a very light touch.
“I think the sound of Trio Mio is very focused on a common Scandinavian vibe. The tradition is underneath, we just put new layers on it. Most of what we write are really dancing tunes. We’ve played for dances and it’s fantastic. And all the tunes have stories behind them, which we tell when we play to audiences.”
It’s their sixth album in a career which started in 2004, and the second with key- board player Peter Rosendal, their first release in four years. Even then it took 18 months to complete.
“The way we work is to dig into a single tune, trying things, arranging it and per- forming it, following all the avenues,” Hee- bøll explains. “Then we’ll do the same thing with the next tune. The writer brings in a raw piece and we work it through together. The band is a democracy.”
It was a democracy that almost ended when original keyboard player Nikolaj Busk moved on. But Heebøll and bouzouki play- er/guitarist Jens Ulvsand decided to press on and began auditioning keyboard players. “We tried several. The thing with Peter is that he brought himself, not what he thought we expected. It’s been very satisfying.”
And on the new album he’s added Moog to his arsenal. It’s used sparely, but it adds depth to the sound. “We always had a feeling we’d need some kind of bass,” Hee- bøll agrees. “The Moog and some of the Wurlitzer piano do that.”
A
nd that helps keep people danc- ing, especially with a band that doesn’t have a defined rhythm instrument. The evidence is right there in their video, which was filmed in the gym of the converted old schoolhouse where Heebøll lives.
“You don’t need a big story to do a video,” she says, “but since we enjoy playing for dancers, this was completely natural. We know how to emphasise the music to make it right for dancing. The thing about playing dances is that we’re not in the spotlight. We’re all participants; it goes both ways. You don’t need an audience for a piece of art. When we’re on a concert stage, that means that 50 per cent of the people aren’t really taking part, they’re listening. So a video with dancers is another chapter in making that connection. And I was very happy to see the empty room at home used for something like that!”
Although Trio Mio don’t tour a great deal, they still manage to remain busy.
“A few years ago we spent more time on the road, but now reality keeps us from going abroad. With two young children, I felt it wasn’t right. It will change, every- thing has its time. And without going any- where, we have the ability to take on new projects instead of going on tour,” Heebøll laughs. “This year Peter arranged some tra- ditional songs for trio and organ with a big band and we’ve recorded that, it should be out during 2019, I think. We’re also doing
some music for kids with a Danish writer. On that one, we’re simply the band, we’re not composing the music. And next May will be the premiere of work on hymns for church. We’ll have concerts for that. The request is that we make it Trio Mio-ish, but every- where we play we’ll be working with local choirs and soloists.”
All that and a brand-new album of their own. But there’s nothing like a chal- lenge, and Polyglot Pike stands tall among the other challenges. There are advances from their previous releases, of course – a little more of Rosendal’s intriguingly named flugabone to add texture and colour, while Ulvsand adds some tenor guitar. There’s only one song this time around too (Pil- trädet) and only one singer – Ulvsand.
“It turns out that Jens is the one who has something to say with his lyrics. Peter and I are more instrumental-focused. But playing mostly instrumentals, it’s very satisfy- ing to also have a song or two for people.”
And it gives the dancers a chance to rest. They’ll be back on their feet soon enough, moving to new music that’s firmly rooted in the tradition but spreading its wings to the future. In Denmark the folk dance revival is building up a head of steam and Trio Mio couldn’t be happier.
“People said that dancing might die out,” Heebøll says. “But that won’t ever happen. I’m just pleased it’s coming back.” F
triomio.dk
ately there are people meet- ing and teaching each other folk dances,” says Kristine Heebøll, the violin player and
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