JAN GARBAREK — Dansere (2012) 3CD-SET | Old & New Masters Edition Series | FLAC (tracks+.cue), lossless

A welcome return to the ECM catalog for three of the most striking of the early recordings which Jan Garbarek made for the label in the 1970s. In different but related ways Sart (1971), Witchi-Tai-To (1973) and Dansere (1975) brought freshly intelligent and invigorating perspective to bear on questions of dynamics, group sound, interaction and swing, the relation of improvisation and abstraction to the roots of jazz, and the relevance of archetypal yet freshly inflected folk forms to contemporary music. Two ensembles are heard here – Garbarek/Stenson/Rypdal/Andersen/Christensen on the exploratory Sart, and the spirited Jan Garbarek-Bobo Stenson Quartet, one of the most exciting groups of the era. ECM
CD1: Sart (ex ECM 1015)
1. Sart 14:45
2. Fountain Of Tears – Part I and II 6:03
3. Song Of Space 9:39
4. Close Enough For Jazz (Arild Andersen) 1:59
5. Irr 7:15
6. Lontano (Terje Rypdal) 2:12
Musicians :
Jan Garbarek - Tenor and Bass Saxophones, Flute
Bobo Stenson - Piano, Electric Piano
Jon Christensen - Percussion
Terje Rypdal - Guitar
Arild Andersen - Double-Bass

CD2: Witchi-Tai-To (ex ECM 1041)
1. A.I.R. (Carla Bley) 8:15
2. Kukka (Palle Danielsson) 4:32
3. Hasta Siempre (Carlos Puebla) 8:10
4. Witchi-Tai-To (Jim Pepper) 4:24
5. Desireless (Don Cherry) 20:25
Musicians :
Jan Garbarek - Soprano and Tenor Saxophones
Bobo Stenson - Piano
Palle Danielsson - Double-Bass
Jon Christensen - Drums

CD3: Dansere (ex ECM 1075)
1. Dansere 15:03
2. Svevende 4:59
3. Bris 6:11
4. Skrik & Hyl 1:30
2. Lokk (after Thorval Tronsgard, arr. Jan Garbarek) 5:39
6. Til Vennene 4:47
 Musicians :
Jan Garbarek - Soprano and Tenor Saxophones
Bobo Stenson - Piano
Palle Danielsson - Double-Bass
Jon Christensen - Drums

MARKUS STOCKHAUSEN | ARILD ANDERSEN | PATRICE HÉRAL | TERJE RYPDAL — Kartā (2000) FLAC (tracks+.cue), lossless

This end-of-the-millennium quartet session probably best defines all the inherent contradictions in who ECM attracts to the label -- what kind of musician records for them -- and what concerns these artists and ECM's chief producer (and creator) Manfred Eicher hold in common. This set, although clearly fronted by Markus Stockhausen and Arild Andersen on brass and bass, respectively, allows space for the entire quartet to inform its direction. Héral and Rypdal are not musicians who can play with just anybody; their distinctive styles and strengths often go against the grain of contemporary European jazz and improvised music. Of the 11 compositions here, four are collectively written, with two each by Andersen and Stockhausen. "Flower of the Now" uses space and texture to create a harmonic architecture, skeletal though it may be. Stockhausen states a theme that acts as the syntax for the painterly drumming of Héral and Rypdal's interlocution between all the drifting parties. "Sway" begins with Héral's trans-African drumming, followed by the fury of Rypdal's own brand of guitar improvisation. He edges through musical frameworks of the past in rock, blues, and jazz, cutting them down in the process of playing knotty arpeggios and deconstructed riffs that rely on harmonic rather than lyrical language. When Stockhausen moves into the fray, it's sparingly in stark contrast to Rypdal's splatter and roll methodology and brings things to a near halt, with only Andersen to slip a groove through the band's abstractions. This is a record of "sonics," an area not unlike the forbidden "Zone" filmmaker Andrei Tarkovsky's hero, who guides people through in the film Stalker -- forbidden, wasted, and beautifully desolate. When listeners reach the place in "Auma" where Andersen's bass employs electronic devices to give it an "orchestra" or chamber section quality, they can hear how attentive this crew really is to one another. They move about slowly and purposefully in the musical spheres where sound, language, and harmonic monoliths all give way into something less definite, less shapely or contoured in favor of the unspeakable, the unmentionable, the inarticulate speech of the heart as it enters, through sound's language: one of tension, dynamic, nuance, and texture, the various places where spoken language fails so miserably. In all, Karta is an effort that showcases the very best of its collective: It contains aesthetic grace and elegance as well as great violence and chaos. For all the recordings in "popular" music made at the end of the century, this is the one that sums up best where Western music has traveled these last hundred years, and points to just how far it yet needs to journey in the next thousand. Karta is soulful, tender, and frightening.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Sezopen 4:50
Composed By – Andersen
2    Flower Of Now 9:15
Composed By – Stockhausen
3    Wood And Naphta 2:55
Composed By – Andersen, Stockhausen, Héral, Rypdal
4    Sway 4:24
Composed By – Andersen, Stockhausen, Héral, Rypdal
5    Auma 8:02
Composed By – Andersen, Stockhausen, Héral, Rypdal
6    Legacy 5:18
Composed By – Andersen, Stockhausen, Héral, Rypdal
7    Invocation 4:44
Composed By – Andersen, Stockhausen, Héral, Rypdal
8    Wild Cat 7:57
Composed By – Andersen, Stockhausen, Héral, Rypdal
9    Emanation
Composed By – Andersen, Stockhausen, Héral, Rypdal
10    Choral 3:57
Composed By – Stockhausen
11    Lighthouse 8:40
Composed By – Andersen
Credits :
Double Bass – Arild Andersen
Drums, Percussion, Electronics [Live Electronics] – Patrice Héral
Electric Guitar – Terje Rypdal
Producer – Manfred Eicher
Trumpet, Flugelhorn, Piccolo Trumpet – Markus Stockhausen

BOBO STENSON | ARILD ANDERSEN | JON CHRISTENSEN - Underwear (1971-2000) FLAC (tracks+.cue), lossless

This LP from ECM's early days finds Swedish pianist Bobo Stenson leading bassist Arild Andersen and drummer Jon Christensen in a program of uncompromising, collectively improvised post-bop. Andersen is prominent in the mix and plays just tons, all of it totally relevant to the music. Christensen provides structure, drawing on his breathtaking talent to contribute a dazzling range of color, a deft, flawless pulse, and fresh rhythmic ideas for the pianist and bassist. Stenson stakes out a middle ground, communicating closely with his partners and underpinning the group with subtle cues and harmonic shifts. Stenson's title track, a great post-bop, piano-bass-drum performance, goes for broke, but with discipline and a shared sense of purpose. From delicate beginnings, the pianist's two ballads, "Luberon" and "Tant W.," build steadily in power and intensity. Ornette Coleman's "Untitled" gets a short, manic workout, reminiscent of pianist Keith Jarrett's involvement with Coleman's music. "Test" is a mesmerizing piano vamp, over which Andersen adds arco effects, as Stenson strums and plucks from inside the piano, and Christensen busies himself with miscellaneous percussion toys. The concluding track, "Rudolf," is an Andersen reworking of Miles Davis' "Mademoiselle Mabry." Although structured as a piano trio, this set's main attraction is the opportunity to hear, up close, the enormous talents of Christensen and Andersen. That, in turn, though, says something about the egalitarian spirit of Stenson. Jim Todd  
Tracklist :
1     Underwear 7'38
Bobo Stenson
2     Luberon 9'16
Bobo Stenson
3     Test 3'35
Bobo Stenson
4     Tant W. 8'52
Bobo Stenson
5     Untitled 3'54
Ornette Coleman
6     Rudolf 6'13
Arild Andersen
Credits :
Bobo Stenson   Piano
Arild Andesen   Double Bass
Jon Christensen    Percussion

ARILD ANDERSEN — Sagn (1991) APE (image+.cue), lossless

After many years working with both fellow Norwegian jazzer Jan Gabarek and such stateside talent as Sheila Jordan, Don Cherry, Sam Rivers, and George Russell, bassist Arild Andersen marked the mid-'70s with the first of several ECM sessions to be cut over the following two decades. Featuring regular collaborators like drummer Paal Thowsen, saxophonist Juhani Aaltonen, and pianist Lars Jansson, Andersen's solo outings not only reflected the airy sound ECM and Gabarek espoused, but the loose and tasteful experimentation of Miles Davis' '60s work as well. For Sagn, Andersen incorporates Norwegian folk songs into the mix with the help of singer Kristen Braten Berg, percussionist Nana Vasconcelos, and a combo of guitar, keyboards, and saxophone. Alternating between sung parts and instrumental segments, the commissioned piece is divided into three sections and finds the group ranging through buoyant swingers and meditative stretches. While a few of the instrumentals get weighed down in guitarist Frode Alneas' rock-tinged contributions, the album mostly comes off quite nicely. Stephen Cook  
Tracklist :
1     Sagn, Pt. 1 6:36
Arild Andersen
2     Sagn - Part I: Gardsjenta 2:57
Arild Andersen
3     Sagn - Part I: Eisemo 2:19
Arild Andersen
4     Sagn - Part I: Toll 4:40
Arild Andersen
5     Sagn - Part I: Draum 6:04
Arild Andersen
6     Sagn - Part I: Laurdagskveld 3:44
Arild Andersen
7     Sagn - Part II: Tjovane 5:06
Arild Andersen
8     Sagn - Part II: Sorgmild 6:24
Arild Andersen
9     Sagn - Part II: Svarm 2:13
Arild Andersen
10     Sagn - Part II: Gamlestev 2:29
Arild Andersen
11     Sagn - Part II: Reven 5:13
Arild Andersen
12     Sagn - Part III: Nystev 3:58
Arild Andersen
13     Sagn - Part III: Lussi 5:33
Arild Andersen
14     Sagn - Part III: Rysen 4:57
Arild Andersen
15     Sagn - Part III: Belare 2:32
Arild Andersen
16     Sagn - Part III: Sagn 2:36
Arild Andersen
Credits :
Bass – Arild Andersen
Design – Sascha Kleis
Guitar – Frode Alnaes
Keyboards – Bugge Wesseltoft
Percussion, Vocals – Nana Vasconcelos
Tenor Saxophone, Soprano Saxophone – Bendik Hofseth
Vocals – Kirsten Bråten Berg

ARILD ANDERSEN / RALPH TOWNER / NANÁ VASCONCELOS - If You Look Far Enough (1997) FLAC (image+.cue), lossless

Norwegian bassist Andersen's reputation in Europe over the decades is well established. He has appeared on a number of significant recordings, most notably Jan Garbarek's SAGN, and with his own iconoclastic ensemble Masqualero. IF YOU LOOK FAR ENOUGH distills those past endeavors into a most atmospheric, spacious outing. The more traditional elements of Andersen's heritage meet face-to-face with a profoundly European free-jazz sensibility.
Andersen's guests add noticeable flecks of color and some subtle energy to his nearly minimalist basslines. Ralph Towner's shifting facades of cloudy guitars add a more fluid resonance to the tracks. So does unsung percussionist Nana Vasconcelos, whose legendary stints on countless jazz and world/ethnic albums are all stellar. IF YOU DON'T LOOK FAR ENOUGH is a ruminative album, capable of striking a variety of moods. by AllMusic
Tracklist :
1     If You Look 3:14
Arild Andersen
2     Svev 5:28
Arild Andersen
3     For All We Know 4:02
J. Fred Coots / Sam M. Lewis
4     Backe 5:49
Arild Andersen
5     The Voice 7:47
Arild Andersen / Naná Vasconcelos
6     The Woman 4:40
Traditional
7     The Place 3:09
Traditional
8     The Drink 5:03
Traditional
9     Main Man 5:04
Arild Andersen / Ralph Towner / Naná Vasconcelos
10     A Song I Used to Play 4:08
Arild Andersen
11     Far Enough 6:25
Arild Andersen
12     Jonah 4:03
Paul Simon
Credits :
Bass, Producer – Arild Andersen
Design [Cover Design] – Barbara Wojirsch
Guitar [Guitars] – Ralph Towner
Percussion – Nana Vasconcelos
Snare [Snare Drum] – Audun Kleive 

ARILD ANDERSEN — Arv (1994) FLAC (image+.cue), lossless

Tracklist :
Del I    
1    Arv I    3:05
2    Sjugur Og Trollbrura    4:14
3    Det Var I Min Ungdom 4:55
Vocals – Bendik Hofseth
4    Liten Va Guten    4:14
Del II    
5    Gardsguten    3:48
6    Guten Og Jenta    3:10
7    Friarstev    1:36
8    Nils Tallefjorden    4:50
9    Han Ole    5:37
10    Kvålins Dans    4:03
Del III    
11    Stabbelåten    2:25
12    Ho Vesl' Astri Vår    4:40
13    Reven Og Skyttaren    7:40
14    Solfager Og Ormekongjen    7:07
15    Skuldalsbrura    6:05
16    Arv II    2:15
Credits :
Acoustic Guitar, Electric Guitar – Eivind Aarset
Bass, Composed By, Arranged By – Arild Andersen
Percussion – Naná Vasconcelos, Paolo Vinaccia (faixas: 2, 4, 6, 9 to 13, 15)
Piano, Keyboards – Bugge Wesseltoft
Soprano Saxophone, Tenor Saxophone – Bendik Hofseth
Arranged By [Vocal Arrangements (Sangarrangement)], Vocals, Jew's Harp, Vocals [Langeleik Sang] – Kirsten Bråten Berg

ARILD ANDERSEN - Hyperborean (1997) APE (image+.cue), lossless

Arild Andersen's Hyperborean is based on an Ancient Greek legend: according to the myth, the Hyperboreans lived beyond the north winds, where the sun god Apollo presided. Andersen has created an impressive song cycle that draws from contemporary instrumental, European jazz, jazz-rock and the distinctive ECM production sound. Andersen's playing is typically tasteful and the compositions are unpredictable and evocative, making Hyperborean another worthy addition to his catalog. by Stephen Thomas Erlewine
Tracklist :
1     Patch of Light, No. 1 2:05
Arild Andersen
2     Hyperborean 5:15
Arild Andersen
3     Patch of Light, No. 2 2:01
Arild Andersen
4     Duke Vinaccia 4:19
Arild Andersen
5     Infinite Distance 5:43
Arild Andersen
6     Vanishing Waltz 1:49
Arild Andersen
7     The Island 6:42
Arild Andersen
8     Invisible Sideman 4:43
Arild Andersen
9     Rambler 3:21
Arild Andersen
10     Dragon Dance 5:36
Arild Andersen
11     Stillness 4:11
Arild Andersen
12     Too Late for a Picture 1:29
Arild Andersen
Credits :
Arranged By [String Arrangement] – Kenneth Knudsen (faixas: 4)
Cello – Morten Hannisdal
Double Bass, Composed By – Arild Andersen
Drums, Percussion – Paolo Vinaccia
Ensemble [String Quartet] – Cikada String Quartet
Keyboards – Kenneth Knudsen
Producer – Manfred Eicher
Soprano Saxophone, Tenor Saxophone – Tore Brunborg
Tenor Saxophone – Bendik Hofseth
Viola – Marek Konstantynowicz
Violin – Henrik Hannisdal, Odd Hannisdal 

ARILD ANDERSEN GROUP - Electra (2005) FLAC (image+.cue), lossless

Arild Andersen's Electra was composed for the Spring Theater in Athens for their production. These "18 Scenes," as they are subtitled, represent various cues and serial music for the production of Sophocles' deeply moving classic. Andersen collaborates with both European and Greek musicians here, among them the great vocalist Savina Yannatou, guitarist Eivind Aarset, drummer Patrice Héral, and trumpeter Arve Henriksen. The music is heavily arranged, taut, and spacious. Everything is understated yet utterly dramatic. Voices, drum programs -- courtesy of Andersen and Nils Petter Molvær -- brass, electric guitars, chorus, and solo voices are given direction by Andersen's bass and conducting, allowing a sort of musical story to emerge that not only informs but works independently of the dramatic work they accompany. This is spirit music. Its goes under the radar and slowly, purposefully enters the listener's unconscious and body, creating a space for impressions created by the emotions and unconscious. Like Peter Gabriel's score for The Last Temptation of Christ, the music here suggests more than it demands. It points ambiguously inward and is seductive by its subtlety. It's not "jazz," but then, it isn't anything else either, because it holds so much more inside than mere classification. This is simply a wondrous piece, darkly haunting, yet utterly beautiful for what it leaves out as much what is here. Given what Andersen has created here, the stage production was blessed.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1    Birth Of The Universe 0:11
Trumpet – Arve Henriksen
2    Mourn 5:18
Arco Bass – Arild Andersen
Guitar [E-bone Guitar] – Eivind Aarset
Percussion – Paolo Vinaccia
3    The Big Lie 6:26
Bass, Loops [Arco Bass Loops] – Arild Andersen
Drums [Left Channel] – Paolo Vinaccia
Drums [Right Channel] – Patrice Héral
Guitar [Guitars] – Eivind Aarset
Trumpet – Arve Henriksen
4    Chorus I 4:03
Guitar [Guitars] – Eivind Aarset
Loops [Arco Bass Loops] – Arild Andersen
Tabla [Tablas], Udu, Bass Drum – Patrice Héral
Trumpet – Arve Henriksen
Vocals [Vocal] – Savina Yannatou
Voice [Chorus Voice] – Elly-Marina Casdas, Fotini-Niki Grammenou
5    Electra Song Intro 1:35
Bass, Loops [Arco Bass Loops] – Arild Andersen
Guitar [Guitars] – Eivind Aarset
6    Electra Song 5:01
Bass – Arild Andersen
Cymbal [Cymbals] – Paolo Vinaccia
Guitar [Guitars] – Eivind Aarset
Instruments [Charon], Djembe, Drums – Patrice Héral
Trumpet – Arve Henriksen
Vocals [Vocal] – Savina Yannatou
7    Electra Song Outro 2:01
Bass – Arild Andersen
Cymbal [Cymbals] – Paolo Vinaccia
Guitar [Guitars] – Eivind Aarset
Instruments [Charon], Djembe, Drums – Patrice Héral
Trumpet – Arve Henriksen
Vocals [Vocal] – Savina Yannatou
8    Chorus II 2:43
Guitar [Guitars] – Eivind Aarset
Loops [Arco Bass Loops] – Arild Andersen
Trumpet – Arve Henriksen
Vocals [Vocal] – Savina Yannatou
Voice [Chorus Voice] – Elly-Marina Casdas, Fotini-Niki Grammenou
9    7th Background 11:01
Bass, Loops [Arco Bass Loops] – Arild Andersen
Drum Programming – Nils Petter Molvær
Drums, Percussion – Paolo Vinaccia
Guitar [Guitars] – Eivind Aarset
Tabla [Tablas], Udu – Patrice Héral
Trumpet – Arve Henriksen
10    One Note 0:10
Trumpet – Arve Henriksen
11    Whispers 3:22
Bass – Arild Andersen
Drums – Paolo Vinaccia
Trumpet – Arve Henriksen
12    Divine Command 2:24
Bass, Loops [Arco Bass Loops] – Arild Andersen
Guitar [Guitars] – Eivind Aarset
13    Clytemnestra's Entrance 3:24
Bass – Arild Andersen
Drums – Paolo Vinaccia
Guitar [Guitars] – Eivind Aarset
Trumpet – Arve Henriksen
Vocals [Vocal] – Chrysanthi Douzi
14    Loud Sound 0:21
Bass – Arild Andersen
Guitar [Guitars] – Eivind Aarset
Percussion – Paolo Vinaccia
Trumpet – Arve Henriksen
15    Chorus III 4:12
Guitar [Guitars] – Eivind Aarset
Loops [Arco Bass Loops] – Arild Andersen
Tabla [Tablas], Udu – Patrice Héral
Trumpet – Arve Henriksen
Vocals [Vocal] – Savina Yannatou
Voice [Chorus Voice] – Elly-Marina Casdas, Fotini-Niki Grammenou
16    Opening 9:32
Bass, Arco Bass [Arco Bass Loops], Drum Programming – Arild Andersen
Guitar [Guitars] – Eivind Aarset
Percussion – Paolo Vinaccia
Trumpet – Arve Henriksen
Voice, Kalimba [Thumb Piano], Drums, Voice [Voice Percussion] – Patrice Héral
17    Chorus IV 2:24
Guitar [Guitars] – Eivind Aarset
Loops [Arco Bass Loops] – Arild Andersen
Tabla [Tablas], Udu, Bass Drum – Patrice Héral
Trumpet – Arve Henriksen
Vocals [Vocal] – Savina Yannatou
Voice [Chorus Voice] – Elly-Marina Casdas, Fotini-Niki Grammenou
18    Big Bang 0:32
Bass – Arild Andersen
Guitar [Guitars] – Eivind Aarset
Percussion – Paolo Vinaccia
Trumpet – Arve Henriksen
Bass – Arild Andersen
Credits :
Producer, Composed By [All Compositions], Double Bass, Drum Programming – Arild Andersen
Drum Programming – Nils Petter Molvær
Drums, Percussion – Paolo Vinaccia
Drums, Percussion, Voice – Patrice Héral
Guitar [Guitars] – Eivind Aarset
Lyrics By – Sophocles
Trumpet – Arve Henriksen
Vocals [Chorus Vocal] – Elly-Marina Casdas, Fotini-Niki Grammenou
Vocals [Vocal] – Chrysanthi Douzi, Savina Yannatou

KARIN KROG & FRIENDS - Joy (1968-2008) FLAC (tracks+.cue), lossless

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.

KARIN KROG — Raindrops, Raindrops (2002) FLAC (tracks+.cue), lossless

Over the years, many different subjects have been debated in the jazz world. One of them has to do with whether or not someone who grows up speaking a language other than English can be an effective jazz vocalist -- some argue that only those who grow up in English-speaking countries should sing jazz. But truth be told, there are plenty of European vocalists who grew up speaking Swedish, German, Italian, Dutch, or French and have no problem singing jazz in excellent English (a language that many Europeans learn to speak fluently at an early age). Although Karin Krog was born in Oslo and grew up in a country where Norwegian is the primary language, she is a shining example of how effectively a Scandinavian vocalist can sing English-language jazz. Raindrops, Raindrops, a best-of CD that spans 1966-1985, paints a consistently attractive picture of Krog's artistry. Assembled by a German label called Crippled Dick Hot Wax, this collection shows Krog to be an adventurous, risk-taking improviser who brings an intriguing variety of influences to the table -- Sheila Jordan, Betty Carter, and Jeanne Lee have affected her work, but so have less abstract vocalists like Billie Holiday and Dinah Washington. Krog favors an inside/outside approach (usually more inside than outside), and the Norwegian improviser is as convincing on Herbie Hancock's "Maiden Voyage" as she is on Michel Legrand's "I'll Wait for You" and Thelonious Monk's "'Round Midnight." The latter is a most pleasant surprise; instead of embracing the famous Bernie Hanighen lyrics, Krog unearths a lesser-known set of lyrics that Babs Gonzales recorded in 1956. Raindrops, Raindrops isn't the last word on Krog's contributions to vocal jazz, but for novices, it would be an excellent starting point. Alex Henderson  
Tracklist :
1.  Meaning Of Love 5:05
Bass [Electric] – Steve Swallow
Drums, Percussion – Jon Christensen
Keyboards, Composed By – Steve Kuhn
Vocals – Karin Krog
2.  Hold Out Your Hands 2:22
Bass [Electric] – Steve Swallow
Drums, Percussion – Jon Christensen
Keyboards, Composed By – Steve Kuhn
Vocals – Karin Krog
3.  Raindrops, Raindrops 3:44
Bass [Electric] – Steve Swallow
Drums, Percussion – Jon Christensen
Keyboards, Composed By – Steve Kuhn
Vocals – Karin Krog
4.  New Spring 6:50
Composed By – Payne, Martin, Surman
Drums – Stu Martin
Soprano Saxophone, Baritone Saxophone By – John Surman
Vocals – Karin Krog
5.  We Could Be Flying 6:02
Bass [Electric] – Steve Swallow
Composed By – Columbier
Drums, Percussion – Jon Christensen
Keyboards – Steve Kuhn
Vocals – Karin Krog
6.  Round About Midnight 6:59
Bass – Arild Andersen
Composed By – Williams, Monk
Vocals – Karin Krog
7.  Maiden Voyage - Lazy Afternoon 9:16
Bass – Arild Andersen
Composed By – Herbie Hancock
Drums – Svein Christensen
Percussion [Rhythm Ins.] – Espen Rud
Piano – Terje Björklund
Tenor Saxophone, Percussion [Rhythm Ins.] – Jan Garbarek
Vocals, Percussion [Rhythm Ins.] – Karin Krog
8.  Time To Go 3:06
Drums, Percussion – Jon Christensen
Electric Bass – Steve Swallow
Keyboards, Written-By – Steve Kuhn
Vocals – Karin Krog
9. I`ll Wait For You 6:43Alto Saxophone, Flute – Per Carsten
Bass – Niels-Henning Ørsted Pedersen
Cello – Erling Christensen
Composed By – Michel Legrand, Gimbel
Drums – Alex Riel
Flute – Bent Larsen
Guitar – Philip Catherine
Harp – Lubov Rubinstein
Oboe – Niels Peters
Percussion – Kasper Vinding
Piano – Ole Koch
Trumpet, Arranged By, Conductor – Palle Mikkelborg
Viola – Finn Ziegler
Violin – Hans Nielsen, Per Walther
Vocals – Karin Krog
10 Karima Two 4:55
Composed By – John Surman, Karin Krog
Synthesizer – John Surman
Vocals, Tambura, Bells – Karin Krog
11 All Of You 5:08
Bass – Niels-Henning Ørsted Pedersen
Composed By – Cole Porter
Drums – Jon Christensen
Piano – Kenny Drew
Tenor Saxophone – Jan Garbarek
Vocals – Karin Krog
12.  Blue Eyes 4:53
Bass – Niels-Henning Ørsted Pedersen
Composed By – Bernt Egerbladh
Drums – Espen Rud
Organ – Kenny Drew
Tenor Saxophone – Dexter Gordon
Vocals – Karin Krog

SHEILA JORDAN / ARILD ANDERSEN - Sheila (1977-1985) FLAC (tracks+.cue), lossless

This was a breakthrough recording for Sheila Jordan. She recorded a superb album for Blue Note in 1962 and then was off records (and only working in jazz on a part-time basis) up until the mid-'70s. She cut two albums for tiny labels and then came this, the first of her vocal-bass duet recordings. While in later years bassist Harvie Swartz would be her frequent musical partner, Jordan's SteepleChase set features the talented Arild Andersen on bass. The communication between the two often borders on the miraculous and it is a pleasure to hear Sheila Jordan's fresh and original interpretations of such songs as "Lush Life," "On Green Dolphin Street," "Don't Explain" and "Better than Anything." by Scott Yanow
Tracklist :
1 Song of Joy 2:05
Reginald Rasputin Boutte / B. Preston
2 Hold Out Your Hands 3:19
Steve Kuhn
3 Lush Life 4:53
Billy Strayhorn
4 The Saga of Harrison Crabfeathers 3:24
Steve Kuhn
5 What Are You Doing the Rest of Your Life? 2:54
Alan Bergman / Marilyn Bergman / Michel Legrand
6 On Green Dolphin Street 3:27
Bronislaw Kaper / Ned Washington
7 It Never Entered My Mind 4:01
Lorenz Hart / Richard Rodgers
8 Don't Explain 4:59
Billie Holiday / Arthur Herzog, Jr.
9 Better Than Anything 2:54
Bill Loughbrough / David "Buck" Wheat
10 The Lady 4:26
Rudy Stevenson
11 Please Don't Talk About Me When I'm Gone 3:08
Sidney Clare / Sam H. Stept
12 Song of Joy 3:46
Reginald Rasputin Boutte / B. Preston
Credits :
Bass – Arild Andersen
Vocals [Vocal] – Sheila Jordan

DAVID DARLING - Cycles (1982) APE (image+.cue), lossless

Cellist David Darling, best known at the time for his long stint with Paul Winter's Consort, mostly performs spacy ballads on this ECM release. Teamed up in different combinations (three unaccompanied solos, a duet, two trios and a quintet number) with Collin Walcott (who doubles on sitar and tabla), pianist Steve Kuhn, Jan Garbarek (on tenor and soprano), acoustic guitarist Oscar Castro-Neves and bassist Arild Andersen, Darling and his sidemen give the music a wide variety of sounds. However, the sleepy mood is very much in the stereotypical ECM mold, making this set mostly of interest for selected tastes. by Scott Yanow
Tracklist :
1     Cycle Song 7:09
David Darling
2     Cycle One: Namaste 4:11
David Darling / Jan Garbarek
3     Fly 9:25
David Darling
4     Ode 6:55
David Darling
5     Cycle Two: Trio 5:30
David Darling
6     Cycle Three: Quintet and Coda 7:52
David Darling
7     Jessica's Sunwheel 5:21
David Darling
Credits :
Bass – Arild Andersen
Cello, Cello [8-string Electric] – David Darling
Guitar – Oscar Castro-Neves
Piano – Steve Kuhn
Producer – Manfred Eicher
Saxophone [Tenor, Soprano] – Jan Garbarek
Sitar, Tabla, Percussion – Collin Walcott

YELENA ECKEMOFF - Desert (2018) FLAC (tracks), lossless

Tracklist:
1 Bedouins 9:25
2 Mirages 7:39
3 Deserts Cry 5:58
4 Dance 8:26
5 Colors Of Nothingness 6:47
6 Condor 4:12
7 Oasis 4:59
8 Dust Storm 8:32
9 Desert Remained 5:29
10 Garden Of Eden 5:30
11 Sands 7:30
Credits:
Double Bass – Arild Andersen
Drums, Percussion – Peter Erskine
Oboe, English Horn, Soprano Saxophone, Bass Clarinet – Paul McCandless
Piano, Producer, Composed by – Yelena Eckemoff

YELENA ECKEMOFF QUARTET - Everblue (2015) FLAC (tracks), lossless

DON CHERRY - Eternal Rhythm (1968) FLAC (tracks), lossless