Trumpet and duduk share the same air. One carries the cool, open resonance of Northern Europe; the other holds a darker, older grain from the Middle East. Their tones lean toward each other, shaped by restraint and careful attention to silence.

Henriksen, raised on Norway’s western coast, has developed a language where trumpet, voice, and electronics move with equal fragility. Known within jazz and improvised music for his singular sound, he often lets the trumpet hover at the edge of speech. Sampling and subtle processing extend the instrument’s natural decay, allowing notes to thin, bend, and dissolve. Across his recordings, traces of Norwegian and Kven traditions surface alongside distant influences from Japanese music and other folk forms. Composition and improvisation remain in quiet negotiation.

Ulaş, born in Türkiye and based in Malmö, approaches the duduk with similar patience. Grounded in Armenian technique, his playing preserves the instrument’s low, textured warmth while gently widening its range through piano, pedals, and electronics. His recent collaborations with Norwegian musicians mark a measured step into Europe’s improvised music community. The sound unfolds with spaciousness, stretching time rather than filling it.

This duo works without prewritten material. There are no fixed roles, no predetermined arc. Sound gathers through listening — wood, brass, voice, circuitry — then thins again into the room. Following their first concert in Gothenburg, this Malmö performance becomes a second encounter, shaped entirely by presence: the acoustics, the audience, the shared act of attention.