Norway has made its own particular jazz derived from its use of culture and philosophy to make a specific Jazz that its own identity.
Jazz musicians in the seventies and eighties in Norway wanted to take American jazz as their ideal. Since then Norway has its own history for its own jazz.
For example the use of electronics in Jazz gave jazz a new philosophical dimension that is thought after all over the world.
Here's a link to four articles in English from the Norwegian Jazz Archives covering Norwegian jazz from 1920 to 2000: 
http://jazzbasen.no/jazz_eng.php?side=jazzhistorie_eng.html

Also you can here:
http://www.allaboutjazz.com/php/article.php?id=17714#.U1D4o1crfUs

We worked with Norway jazz musicians on several projects. We invited several bands to our Jazz Lives in Syria festival. They are EnembleDenada, EivindAarset, and Motif.
Many of the bands played with Syrian musicians in the context of the festival.
Our aim is to do cross over projects and Norway like we did several times.
Norway modern jazz scene is open to include all kind of MODAL approach to Oriental music. That keeps the integrity of the Maqam and thus gives it long time success and closeness to people.
Norwegian Modern jazz proved that it’s much successful than other modern jazz approach that mostly is abstract. We want to work with Norwegian musicians to make cross over projects where we present our oriental music to fuse new projects. Many Norwegian musicians dealt with such aspects before.
The work of EivingAarset for example and his use of rock elements and electronics is so colorful and melodious and thus close to one ear.This is a piece by EivindAarset that he performed in Damascus 2010 Jazz festival
https://www.youtube.com/results?search_query=eivind+aarset+still+changing+damascus 

Otherareas of cooperation with Syria is education of young generation of the use of the above points. That is the use of modern approach to Oriental music and the use of electronics in giving the music a new dimension and background. Please take some minutes how he uses electronics effects to make dramatic development as classical composer would do for his use of violins and cellos for example.
Also here is another example of what I am trying to explain by TrygveSeim
http://www.youtube.com/watch?v=tbv_o_Irhy4 

For me what I hear is not some cultural ideas or philosophy peculiar indeed and not only the use of Norway traditional music or instruments.

We would like to build joint projects in Norway and elsewhere in joint projects. It involves a small number of Oriental musician from Syria and arrangers and composers from both countries.
Here are some examples.The projects would be totally new and never done before.

Ibrahim Kevo with Syrian Musician and Swiss musicians in Geneva in April 2010.There were compositions and arrangements from both sides.
http://www.youtube.com/watch?v=1SnQGHTk1Bk 
http://www.youtube.com/watch?v=Ycp71DA26bA 

Linda Betar with Arabic traditional song performed in Hanover in 2010. 
http://www.youtube.com/watch?v=baYu6bxgER8&feature=related 

Ibrahim Kevo with the Iranian Singer Salaraghili also in Hanover 2010. That was a simple world music approach to arrangement.
http://www.youtube.com/watch?v=Ycp71DA26bA 

We did several projects with Norwegian musicians and some workshops. We asked Eivindto give electronic workshop and how to use this technique for developing musical ideas and background sound scape.
Also you can see here the guitar player from EsembleDenada playing with our big band in 2008. Also you can the great Norwegian trombone player and composer HelgeSunde playing the entire set with the big band. We want to do much more.
https://www.youtube.com/watch?v=SMVqvfF1CFs 


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