release date: May 1977
format: cd (1988 reissue)
[album rate: 4 / 5] [4,02]
producer: Niels Henriksen
label: CBS Records / Elap - nationality: Denmark
Track highlights: 1. "Det ganske lille band" - 2. "Entertaineren" (5 / 5) - 3. "La containe" - 4. "Tobaksvejen" - 5. "Hamburger Sally" (4 / 5) - 6. "Storbybeduinen" - 8. "Bellevue" (5 / 5) - 9. "Abonnenten" (4 / 5)
3rd studio album by C.V. Jørgensen following two years after T-Shirts, terylenebukser & gummisko and originally released on Danish label Metronome. Nils Henriksen is again credited as producer, as on the predecessor, and although he is already a recognized guitarist, he is only credited additionally on backing vocals and on timbales. The album offers a reunion with guitarist Ivan Horn, who appeared on the debut album En stynet strejfer (1974), and together with bassist Erik Falck, keyboardist Per Wium, and new drummer René Wulf (replacing Gert Smedegård on the previous two albums), this is the quartet which became equated with 'Det ganske lille band', mentioned in the opening track, and for the rest of the decade was to become the unofficial name of C.V.'s backing band.
The album is generally regarded as Jørgensen's commercial and artistic breakthrough, and it marks a shift towards a softer version of folk rock with a distinct jazz tone. The significant inspiration from Dylan, The Band, Neil Young, and Little Feat is not absent but considerably toned down, just as new stylistic expressions have appeared. On this, you'll find similarities with soft rock from The Doobie Brothers, but especially country and blues influences from Steely Dan and J. J. Cale, which is the style now dominating Jørgensen's soundscape. In addition to the American artists in singer / songwriter, folk and country, there is a turn towards the British Isles with inspiration from Eric Clapton and new contemporary influences from David Bowie and Brian Eno. Bowie is mentioned on "Bellevue" and Per Wium plays a piano sequence on "Abonnenten", which was supposed to be inspired by Mike Garson's piano solo on Bowie's Aladdin Sane. In continuation of the new musical expression, C.V. also developed his songwriting in such a way that he expresses himself more satirically in relation to national politics and in comments about Danish everyday life.
The majority of contemporary Danish musicians spoke unequivocally and strongly confrontationally against conservatism and older generations from a clear left-wing perspective, which often seemed like a bombardment without nuances. Together with Kim Larsen, Sebastian, and Trille, C.V. Jørgensen appeared as one of a few significant songwriters who would be able to carry on the legacy of Eik Skalø - a position he not only maintained, but also came to substantiate in the coming years, and by the end of the decade he positioned himself as perhaps the best and most important Danish songwriter of a generation.
I was already quite familiar with C.V.'s music from early on, but this album was my first acquisition by C.V. Jørgensen, and I purchased that album simply because it was already considered a modern classic. Over the years, its status hasn't exactly faded. The Danish music magazine Gaffa chose Storbyens små oaser to represent C.V. Jørgensen on its list of the best Danish albums ever. Four decades later, it still has classic status - and especially in comparison with other acclaimed releases from 1977, and in a Danish musical historical context, you cannot skip Storbyens små oaser.
Highly recommended.
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This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.
