By 1968, Norwegian jazz singer Karin Krog was already an international
star. She had already won her country's most prestigious jazz award, the
Buddy, had performed in the U.S. with Claire Fischer and Don Ellis, and
had won a Talent Deserving Wider Recognition award in the 1966 Down
Beat poll. She had also recorded three albums under her own name by this
time. The recording of Joy with then-young lions Arild Andersen on
bass, Svein (Jon) Christensen on drums, saxophonist Jan Garbarek,
pianist Terje Bjorklund and percussionist Espen Rud signified a change
in direction, from her previously straight swing and bop performance
method. The set opens provocatively, even shockingly for the time with
Annette Peacock's "Mr. Joy," a paean to a personal "toy" driven by
Bjorklund's modal piano. The most groundbeaking cut here, "Karin's
Song," is an improvisation guided by Garbarek, who had been a member of
Krog's band since 1966. A vanguard piece that works on two juxtaposed
modes, it features Bjorklund's piano offering thick layers of tonally
stretched chords and Krog alternately scatting, growling, and moaning
before and after Garbarek's thoroughly outside soloing. One who hears
Garbarek's playing here will be shocked that this is the same person
whose mannered playing graces so many ECM recordings from the 1970s into
the 21st century. Garbarek and Bjorklund are absent on "'Round
Midnight." The cut is led by Andersen's bass in duet with Palle
Danielsson and accompanied only by Christensen's shimmering brushwork.
Krog's singing is bluesy, icy cool, mysterious, and utterly original.
The dual bass playing here is astonishing as counterpoint underscores
every sung line elongating them in the process. "Maiden Voyage," by
Herbie Hancock comes off as a swinging piece of jazz psychedelia with
Garbarek doing his best Paul Desmond in the intro and Krog moaning to
match his lines tonally, displaying fine control. The tune flows and
changes shapes, aided by reverb on the voice while indulging fascination
with Eastern modalities. The Garbarek solo is wonderful; alternating
between dry, muted coolness and restrained out blowing before the
crystalline lines of Bjorklund's piano shimmer through the center. This
is a remarkable and timeless record, showcasing Krog's considerable
gifts and the acumen of a great group of young jazz players.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1 Mr. Joy 7:55
Written-By – A. Peacock, B. Colburn
2 Karin's Mode 8:10
Written-By – Jan Garbarek
3 Round About Midnight 6:05
Written-By – Gonzales, Monk
4 Maiden Voyage - Lazy Afternoon 9:10
Written-By [Lazy Afternoon] – Moross, Latouche
Written-By [Maiden Voyage] – Hancock
- Bonus Track -
6 Blues Eyes 3:27
Composed By – B. Egerbladh, K.Krog
7 Break Of Day In Molde 2:18
Composed By – C. Bley, K.Krog
Credits :
Bass – Arild Andersen, Palle Danielsson (tracks: 3), Terje Bjørklund (tracks: 1, 2, 4, 5)
Drums – Jon Christensen (tracks: 6, 7), Svein Christiansen (tracks: 1 to 5)
Harp – Elisabeth Sønstevold (tracks: 6, 7)
Liner Notes – George Russell
Organ – Berndt Egerbladh (tracks: 6, 7)
Percussion [Rhythm Instruments] – Espen Rud (tracks: 1, 2, 4, 5), Karin Krog (tracks: 3)
Tenor Saxophone [Tenor Sax], Percussion [Rhythm Instruments] – Jan Garbarek (tracks: 1, 2, 4, 5)
Trumpet – Ted Curson (tracks: 6, 7)
Voice – Karin Krog
Notes
Tracks 1, 2, 4 and 5 recorded October 2, 1968 in Oslo, Norway.
Track 3 recorded July 6, 1968 at the Kongsberg Jazz Festival, Norway.
Tracks 6, 7 recorded August 4, 1969 in Oslo, Norway.
11.7.21
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