JAN GARBAREK — All Those Born With Wings (1987) Two Version | APE + FLAC (image+.tracks+.cue), lossless

On the hip with most of Garbarek's recordings, this one is airy and spacy -- belting out screaming sax lines over a drony sea of nothing. The word to describe this record is passionate. This is not background music like many of his other recordings tend toward. Fans of his playing on Paul Giger's Alpstein will appreciate this one. The five pieces here -- serially titled -- tend to blend together, giving the impression of one long song. Mark Allender
Tracklist :
1    1st Piece    6:09
2    2nd Piece    4:51
3    3rd Piece    7:38
4    4th Piece    6:34
5    5th Piece    12:54
6    6th Piece    5:09
Credits:
Saxophones, Flute, Emulator, Percussion, Music By – Jan Garbarek

JAN GARBAREK with TERJE RYPDAL — Esoteric Circle (1969-1987) FLAC (tracks+.cue), lossless

Jan Garbarek had studied with the great American composer George Russell, and had previously appeared on Russell's venture into jazz-rock, Electronic Sonata for Souls Loved By Nature. Whereas his teacher's usage of rock rhythms in an avant jazz context often came off as rather clunky, for Garbarek and his guitarist, Terje Rypdal, formerly a member of the popular Norwegian band the Vanguards, such a melding was more second nature. The Esoteric Circle, the first album by their band of the same name (hey, this was still the '60s after all), is a highly successful and enjoyable effort, one that can stand comfortably with work being done at that time by Tony Williams or John McLaughlin. Garbarek's compositions range from deeply felt homages to Coltrane ("Traneflight" and "Nefertite") to rocking jams like "Rabalder," where Rypdal gets to showcase his considerable chops. In fact, some of these themes were used by Russell in his aforementioned work. Garbarek's own playing, here entirely on tenor, come largely out of Albert Ayler as well as Coltrane, and his general attack is much more raw and aggressive than the style for which he would eventually become more widely known through his recordings for ECM. Listeners who enjoy his first several albums for that label (from Afric Pepperbird to Witchi-Tai-To) will find much to savor here. Brian Olewnick   

Tracklist :
1 Traneflight 2:51
 Jan Garbarek
2 Rabalder 8:15
 Jan Garbarek
3 Esoteric Circle 5:22
 Jan Garbarek
4 Vips 5:40
 Jan Garbarek
5 SAS 644 8:49
 Jan Garbarek
6 Nefertite 2:05
 Jan Garbarek
7 Gee 1:10
 Jan Garbarek
8 Karin's Mode 7:30
 Jan Garbarek
9 Breeze Ending 3:39
 Jan Garbarek
Credits :
Bass – Arild Andersen
Drums – Jon Christensen
Guitar – Terje Rypdal
Producer – George Russell
Tenor Saxophone – Jan Garbarek 

EBERHARD WEBER — Chorus (1985) Two Version | APE (image+.cue), lossless + FLAC (tracks+.cue), lossless

One might easily switch the title of Eberhard Weber’s Chorus with that of Fluid Rustle and none would be the wiser. Where the latter brims with voices and color, this relatively monochromatic effort is more like a shift of clothing in the shadows. Until this point, Weber’s ECM projects had been inclined toward epic statements. These ranged from overwhelmingly sun-drenched reveries (The Following Morning) to moonlit fields of introspection (Later That Evening). With the release of Chorus, however, Weber reached a new level of intimacy. Joined only by Jan Garbarek on soprano and tenor saxophones and Ralf Hübner (one of Germany’s most important jazz drummers), Weber pares his sonic brush for a new kind of script.

Over the course of seven unnamed parts, we find all the staples of the Weber experience. The, yes, fluid electro-bass and synth drone of Part I will be familiar to the Weber enthusiast, only here we encounter something quite different. Where before these territories engulfed us, now they are painted inside us. Similarly, every note from Weber’s bass in Part II is a ripple that finds only slight resistance from our inner walls as it expands toward the oncoming night, but ever with the dawn in mind. Garbarek floats his gorgeous lines one drop at a time, melting through the doublings of Parts III and IV and on to the arco strains of Part V. This scribbled palette cleanser slides into the pulsing depths of Part VI. Here the band achieves something special, making for the suite’s most powerful nodes of emotion. The final part eases us into a lovely thread of electric piano that makes this one of Weber’s most perfect constructions and beyond reason enough to own the album.

As I revisit Chorus for this review, the police sirens loudening and fading outside my window remind me of the transformative power of its music, which makes of those sirens a bird of light screaming across the canvas of the sky. Like the fade on which it ends, it leaves its body behind—a kite cut from its string which, instead of falling, continues floating ever higher until it burns quietly in the sun. ECM

Chorus
1. Part I (7:37)
2. Part II (5:38)
3. Part III, IV (7:48)
4. Part V (3:26)
5. Part VI (7:38)
6. Part VII (8:17)
All composed by Eberhart Weber
Credits :
Eberhard Weber - Bass, Synthesizer
Jan Garbarek - Soprano and Tenor Saxophones
Ralf-R. Hübner - Drums

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

GARY PEACOCK w/ JAN GARBAREK · TOMASZ STAŃKO · JACK DeJOHNETTE — Voice From The Past - PARADIGM (1982) APE (image+.cue), lossless

This abstract quartet recording by bassist Gary Peacock features Jan Garbarek on tenor and soprano saxes, Tomasz Stanko on trumpet, and Jack DeJohnette on drums. The interplay between Peacock and DeJohnette, captured roughly two years before the release of the first Keith Jarrett standards record, is especially interesting. One only wishes the horns weren't so tinny. Highlights include the freebopping "Moor" (a piece that dates back to the early '60s), the lyrical "Ode for Tomten," and the chill-inducing "Voice From the Past." (The latter resurfaced on 2001's Amaryllis, with Marilyn Crispell and Paul Motian.) David R. Adler
Tracklist :
1. Voice From The Past 11:00
2. Legends    7:40
3. Moor 4:58
4. Allegory 9:35
5. Paradigm 6:44
6. Ode For Tomten 9:25
Credits :
Bass, Composed By – Gary Peacock
Drums – Jack DeJohnette
Producer – Manfred Eicher
Tenor Saxophone, Soprano Saxophone – Jan Garbarek
Trumpet – Tomasz Stańko

ZAKIR HUSSAIN — Making Music (1986) FLAC (tracks+.cue), lossless

 Making Music The tradition of Indian percussion has been revolutionalized by tabla player Zakir Hussain. The son of Ustad Allah Rakha, the long time collaborator of Ravi Shankar, Hussain has inherited his father's quest for bringing the music of India to the international stage. His recording credits include albums with George Harrison, Joe Henderson, Van Morrison, Jack Bruce, Tito Puente, Pharoah Saunders, Billy Cobham, the Hong Kong Symphony and the New Orleans Symphony. His work with Mickey Hart of The Grateful Dead have included performances and albums with the Diga Rhythm Band and Planet Drum. Hussain joined with British guitarist John McLaughlin and Indian violinist L. Shankar to form the east-meets-west supergroup, Shakti, in 1975. Although the group disbanded in 1978, they reunited to tour as Remember Shakti in 1998. Hussain has been equally successful as a bandleader. During the 1980s, he toured with Zakir Hussain's Rhythm Experience. His debut solo album, Making Music, released in 1987, was called "one of the most inspired East-West fusion albums ever recorded". In 1992, Hussain launched a record label, Monument Records, that focused on Indian music. A lengthy list of awards have been bestowed upon Hussain throughout his career. In 1988, he became the youngest percussionist to be awarded the title "Padma Shri" by the Indian government. Two years later, he recieved the Indo-Ameican award in tribute to his contributions to furthering relations between the United States and India. Planet Drum, an album co-produced with Hart in 1992, received a Grammy for "best world music album", a NARM Indie Best Seller award and won the Downbeat Critics Poll for "Best world music album". Still a youngster when he began to attract attention with his virtuosic playing, Hussain began his musical career at the age of seven and was touring by the age of twelve. In 1970, he made his American debut as accompanist for Ravi Shankar. Three years later, he became the leader of the Tal Vadya Rhythm Band. The group subsequently evolved into the Diga Rhythm Band. In 1976, the band collaborated on a self-titled album with Mickey Hart. Hussain has performed on the soundtracks of numerous films including Apocalypse Now!, In Custody and Little Buddha. At the 1983 Cannes Film Festival, he was nominated for an award as composer and music director of the film, Heat And Dust. Craig Harris
Tracklist 
1 Making Music 12:30
Written-By – Hussain
2 Zakir 6:24
Written-By – McLaughlin
3 Water Girl 3:52
Written-By – Hussain
4 Toni 3:51
Written-By – Hussain
5 Anisa 9:15
Written-By – Hussain
6 Sunjog 7:36
Written-By – Hussain
7 You And Me 2:13
Written-By – McLaughlin, Hussain
8 Sabah 3:35
Written-By – Hussain
Credits
Acoustic Guitar – John McLaughlin
Flute [Flutes] – Hariprasad Chaurasia
Tabla, Percussion, Voice – Zakir Hussain
Tenor Saxophone, Soprano Saxophone – Jan Garbarek

MANU KATCHÉ - Touchstone for Manu (2014) FLAC (tracks+.cue), lossless

A specially-price limited edition compilation of the best of Manu Katché on ECM. Here the French drummer is joined in performances of his tunes by an outstanding cast of soloists including Jan Garbarek, Tomasz Stanko, Nils Petter Molvӕr, Trygve Seim, Mathias Eick, Marcin Wasilewski, Tore Brunborg, and Jacob Young. Recorded 2004 -2012 in Oslo, New York and Pernes-les-Fontaines, and drawn from his widely acclaimed albums “Neighbourhood”, “Playground”, “Third Round” and “Manu Katché”. ecm
Tracklist :
1    Song For Her 6'31
(Manu Katché)
2    Number One 6'13
(Manu Katché)
3    Take Off And Land 4'02
(Manu Katché)
4    So Groovy 5'52
(Manu Katché)
5    Morning Joy 5'29
(Manu Katché)
6    Keep On Trippin' 5'32
(Manu Katché)
7    Senses 4'12
(Manu Katché)
8    Swing Piece 4'50
(Manu Katché)
9    Running After Years 6'16
(Manu Katché)
10    Slowing The Tides 5'35
(Manu Katché)
11    Bliss 4'20
(Manu Katché)
Credits :
Manu Katché - Drums
Jan Garbarek - Tenor Saxophone
Tomasz Stanko - Trumpet
Marcin Wasilewski - Piano
Slawomir Kurkiewicz - Double Bass
Trygve Seim - Tenor Saxophone
Mathias Eick - Trumpet
Jacob Young - Guitar
Pino Palladino - Bass
Jason Rebello - Piano
Jim Watson - Piano, Hammond B3 Organ
Tore Brunborg - Saxophones, Tenor Saxophone
Nils Petter Molvaer - Trumpet, Loops    

SHANKAR / JAN GARBAREK / PALLE MIKKELBORG - Vision (1983) APE (image+.cue), lossless

L. Shankar's Vision is an ethereal tour-de-force -- an oxymoron, perhaps, but an appropriate description of the otherworldly visions he conjures with his manipulations of his 10-string, stereophonic, double-necked, electric violin. The lengthy title track is a solo space journey on his massive instrument, with lots of phasing undercurrents and an aural experience of weightlessness that is rather pleasant. On the other tracks, Shankar is flanked by the hot, piercing Jan Garbarek on saxes and the cool Palle Mikkelborg on trumpet and flugelhorn, who contribute heat and ice to Shankar's textures. "All For You" is a no-man's-land of sound that uses Indian scales and minimalist repetition. "Psychic Elephant" finds Garbarek and Mikkelborg revolving around Shankar's pizzicato violin, and then the two horn players provide percussion for Shankar's dialogues with himself and Garbarek's growls on the rare bass saxophone. Exotic pan-cultural ingredients and all, Vision is reassuringly easy to listen to, undoubtedly aided by ECM's sweetly reverberant sound. by Richard S. Ginell
Tracklist :
1    All For You    6:36
Shankar
2    Vision    13:43
Shankar
3    Astral Projection    5:43
Shankar
4    Psychic Elephant    11:50
Shankar
5    The Message    7:32
Shankar
Credits :
Tenor Saxophone, Soprano Saxophone, Bass Saxophone, Percussion – Jan Garbarek
Trumpet, Flugelhorn [Fluegelhorn] – Palle Mikkelborg
Violin [10-String Stereophonic Double Violin], Percussion By – Shankar

SHANKAR / JAN GARBAREK / ZAKIR HUSSAIN / TRILOK GURTU - Song For Everyone (1984) FLAC (tracks+.cue), lossless

Song for Everyone heralds the return of the groove in Shankar's East-West-minded music, with former Shakti colleague Zakir Hussain on tabla, Trilok Gurtu on percussion, and Shankar's own manipulation of a drum machine tending to the rhythms. The result is a brighter, more outgoing record than its predecessor Vision, veering between Western acoustic and electric grooves and the complex beats churned out by the tabla. Jan Garbarek again shines beams of light on soprano and tenor, engaging Shankar's ten-string double-necked electric violin in some complex interplay on the title track. Some tracks are driven entirely or partially by the drum machine; "Paper Nut" has a particularly infectious revolving pattern. But sometimes Shankar overdoes it; the lengthy "Watching You" has an overly mechanized feeling that can be either mesmerizing or infuriating, depending upon your mood. On another track, "I Know," the Western percussion is gradually swallowed up by the Indian tabla. Fascinating, free-thinking music, beautifully recorded as usual by ECM. by Richard S. Ginell
Tracklist :
1. Paper Nut 6:02
Lakshminarayana Shankar
2. I Know 7:29
Lakshminarayana Shankar
3. Watching You 13:06
Lakshminarayana Shankar
4. Conversation 7:47
Lakshminarayana Shankar
5. Song For Everyone 6:18
Lakshminarayana Shankar
6. Let's Go Home 6:24
Lakshminarayana Shankar
7. Rest In Peace 3:24
Lakshminarayana Shankar
Credits :
Lakshminarayana Shankar - 10-string double violin, Drum Machine
Jan Garbarek - Soprano & Tenor Saxophones
Zakir Hussain - Tabla, Congas
Trilok Gurtu - Percussion

TRILOK GURTU - Living Magic (1991) FLAC (image+.cue), lossless

With Jan Garbarek (saxes), Nana (per), Daniel Goyone (k). This is a septet doing Indian, Turkish, Scandinavian, and Brazilian world fusion, which is very well conceived. One of Garbarek's better efforts as collaborator or leader.  by Michael G. Nastos
Tracklist  
1    Baba 8:33
Written By – T.Gurtu
2    Living Magic 6:28
Written By – D. Goyone, T.Gurtu
3    Once I Wished A Tree Upside Down 8:02
Written By – J. Garbarek
4    Transition 7:33
Written By – D. Goyone, T. Gurtu
5    From Scratch 2:26
Written By – T. Gurtu
6    Tac, Et Demi 6:35
Written By – D. Goyone, T. Gurtu
7    TMNOK 2:54
Written By – D. Goyone
Credits
Bass, Guitar – Nicolas Fiszman
Congas, Repinique, Voice, Percussion – Naná Vasconcelos
Drums, Tabla, Voice, Congas, Percussion, Producer – Trilok Gurtu
Keyboards, Piano – Daniel Goyone
Kora, Cello – Tunde Jegede
Tenor Saxophone, Alto Saxophone – Jan Garbarek
Veena – Shanthi Rao

ELENI KARAINDROU : Concert in Athens (2013) FLAC (tracks+.cue), lossless

The music of Greek film and theater score composer Eleni Karaindrou draws on elements of classical music and jazz, and sometimes on traditional Greek music, but it's not easy to classify as any of these. Karaindrou relies on small ensembles, with or without a small orchestra, creating a distinctive timbre for each piece. The music is low-key, but it's a remarkably flexible language. With Karaindrou herself on piano, top-flight chamber players Kim Kashkashian on viola and Vangelis Christopoulos on oboe, and Jan Garbarek's saxophone providing subtle jazz accents, the music has a remarkable fluid quality. ECM's sound in this live recording is strikingly clear (you can hardly tell it's live, and there's no applause or audience noise), but the label's usual minimalist graphics are a bit annoying here; it would have been helpful to know exactly what scenes the pieces were intended for: although some of the material (like Tennessee Williams' play The Glass Menagerie) is well known, titles like Laura's Waltz are very general. Still, the music grows on you as its colors emerge on repeated hearings, and the musicians of the Camerata Orchestra under Alexandros Myrat play with both sheen and obvious enjoyment. This is apparently something of a retrospective of Karaindrou's work, and it makes you want to hear more of it. by James Manheim  
Tracklist :
1    Requiem For Willy Loman    3:58
2    Eternity Theme    1:58
3    Closed Roads    5:36
4    Waiting    2:07
5    Voyage    2:10
6    Invocation    2:26
7    Tango Of Love    1:41
8    Tom's Theme    1:35
9    Laura's Waltz    3:22
10    Adagio    3:49
11    After Memory    2:45
12    Farewell Theme    4:27
13    Seeking Theme    2:18
14    Nostalgia Song    2:26
15    Waltz Of The Rain    2:44
16    Adagio For Saxophone    2:48
17    Dance    3:54
18    Requiem For Willy Loman, Var.    4:14

Accordion – Dinos Hadjiiordanou (pistas: 4, 7, 9, 14, 15, 17)
Bassoon – Sonia Pisk (pistas: 13)
Clarinet – Marie-Cécile Boulard (pistas: 13)
Composed By [All Compositions By] – Eleni Karaindrou
Conductor [Camerata Orchestra] – Alexandros Myrat (pistas: 1, 3, 5 to 10, 12 to 18)
Flute – Stella Gadedi (pistas: 13 to 15)
French Horn – Vangelis Skouras (pistas: 13, 17)
Harp – Maria Bildea (pistas: 4, 14, 15)
Mandolin – Aris Dimitriadis (pistas: 9, 14, 15)
Music Director [Artistic Direction] – Manfred Eicher
Oboe – Vangelis Christopoulos (pistas: 5, 10, 11, 13, 17)
Orchestra [String Orchestra] – Camerata Orchestra (pistas: 1, 3, 5 to 10, 12 to 18)
Piano – Eleni Karaindrou (pistas: 1, 2, 4, 12, 14, 18)
Producer [Concert Production] – The Athens Concert Hall
Producer [Produced By] – Manfred Eicher
Tenor Saxophone – Jan Garbarek (pistas: 1, 6, 8 to 12, 16, 18)
Trumpet – Socratis Anthis (pistas: 13)
Viola – Kim Kashkashian (pistas: 3, 9 to 11, 17)
Violin – Sergiu Nastasa (pistas: 5, 15)
Violoncello – Renato Ripo (pistas: 1, 3, 5 to 10, 12 to 18)

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.

MARILYN MAZUR - Elixir (2008) FLAC (tracks+.cue), lossless

Elixir is the first album Danish percussionist Marilyn Mazur has recorded as a leader for ECM in 14 years. It is an interesting number for Mazur, because she has also spent 14 years as a member of saxophonist Jan Garbarek's recording and touring ensembles. He appears on about half of Elixir as Mazur's only collaborator (apart from producer Manfred Eicher). That said, the solo pieces are the first remarkable aspect of this set. When Mazur works alone, her pieces defy everything we think we know about solo percussion recordings: there is a warmth and directness in these proceedings that is songlike rather than merely hypnotic or virtuosic. There is much to tell here, not merely to show. These short works are, in effect, aural stories. They arise from her intuitive understanding of an instrument and sound as well as her improvisational abilities as a percussionist, but they emerge as almost sung narratives told on her array of bells, marimba, bowed vibraphones, log drums, udu, cymbals, gongs, waterphone, hang, and metal utensils -- instruments and tools from all of the earth's continents. They are startling vignettes, because they offer a connection to something earlier to be sure, but also to something very universal in their accessibility as a kind of folk art. When she works with Garbarek, the sheer intuitive nature of their communication is simply startling. They do know one another well, but this is truly out of the ordinary. To be honest, as fine as Garbarek's own records have been, listeners haven't really heard him play like this for many years. The structured melodies and dynamic reaches in "Orientales," for instance, come from a very simple idea that he modulates on and returns to over and over again, but his intonation and sense of attack are very different than on his own records. Likewise, the tribal-sounding "Dunun Song" allows for the saxophonist to take his tenor and dance along a thematic idea that is as rooted in blues and New Orleans music as it is in African cultures. The relatively free abstraction in "Winter Wish," the longest of these 21 improvisations at a little over four minutes, is nonetheless measured by Mazur's sense of pace and space, and how her own measured tones offer another voice for her collaborator. The beautiful cymbal, cowbell, and log drums on "Creature Walk" are knotty, ever shifting in pulse and timbre, but always toward rather than away from the listener. The nocturnal waterphone on "Metal Dew," with the longish tones of shimmering small bells and rubbed cymbals, presents another piece of musical alchemy that, while sounding utterly strange and almost exotic, is nonetheless fantastically approachable and beautifully nuanced. In fact, the manner in which this album is structured draws the listener from front to back without once being overwhelming. Indeed, if anything, one is drawn increasingly and with great fascination into these gorgeous rhythmic poems, as if to a new land that is simultaneously welcoming and strange. Fantastic.    
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist:
1  Clear 3:01
Marilyn Mazur
2  Pathway 2:53
Marilyn Mazur
3  Dunun Song 3:25
Marilyn Mazur
4  Joy Chant 3:13
Marilyn Mazur
5  Bell-Painting 0:59
Marilyn Mazur
6  Elixir 3:05
Marilyn Mazur
7  Orientales 3:01
Jan Garbarek / Marilyn Mazur
8  Metal Dew 2:55
Marilyn Mazur
9  Mother Drum 2:39
Marilyn Mazur
10  Mountain Breath 1:16
Jan Garbarek / Marilyn Mazur
11  Creature Walk  2:34
Marilyn Mazur
12  Spirit of Air 1:08
Jan Garbarek / Marilyn Mazur
13  Spirit of Sun 1:58
Jan Garbarek / Marilyn Mazur
14  Sheep Dream 1:40
Marilyn Mazur
15  Talking Wind 2:39
Marilyn Mazur
16  Totem Dance 3:18
Jan Garbarek / Marilyn Mazur
17  The Siren in the Well 3:30
Marilyn Mazur
18  River 3:05
Jan Garbarek / Marilyn Mazur
19  On The Move  2:24
Marilyn Mazur
20  Winter Wish 4:13
Jan Garbarek / Marilyn Mazur
21  Clear Recycle 1:58
Marilyn Mazur
Credits
Marimba, Vibraphone [Bowed Vibraphone], Waterphone, Percussion [Hang], Bells, Gong [Gongs], Cymbal [Cymbals], Percussion [Magic Drum], Percussion [Log Drum], Bells [Sheep Bells], Cowbell, Udu [Udu Drum], Drums [Various Drums], Percussion [Metal-Utensils] – Marilyn Mazur
Producer – Manfred Eicher
Tenor Saxophone, Soprano Saxophone, Flute – Jan Garbarek
Written-By – Jan Garbarek (tracks: 7, 10, 12, 13, 18, 20), Marilyn Mazur

PAUL GIGER - Alpstein (1991) APE (image+.cue), lossless

Violin virtuoso Paul Giger revisits his roots with this, his second solo recording, Alpstein, which features pieces for violin, saxophone, and percussion based on the folk traditions of the Alpstein region of Switzerland. Three pieces here are entitled "Zäuerli" -- named after the sad majestic "natur yodel" tradition of the Outer Rhoden region. These are sweeping and majestic with high harmonic bowstrokes. This recording features the saxophone work of Jan Garbarek and the percussion of Pierre Favre. Both add an incredible warmth to the recording on the pieces they are featured on, most notably "Alpsegen" with its soaring sax lines and manic percussion. Also notable is "Chlauseschuppel," featuring the sounds of cowbells specific to that region. Informative booklet included. by Mark Allender
Tracklist:
1    Zäuerli, for violin, tenor saxophone & percussion 3:10   
Paul Giger
2    Karma Shadub, for chorus & violin 13:41
Paul Giger
3    Alpsegen, for violin, tenor saxophone & percussion 12:43
Paul Giger
4    Zäuerli, for violin, tenor saxophone & percussion 1:53   
Paul Giger
5    Zäuerli, for violin, tenor saxophone & percussion 2:21   
Paul Giger
6    Chuereihe, for violin, tenor saxophone & percussion 17:33   
Paul Giger
7    Chiauseschuppel, for violin, tenor saxophone & percussion 4:09   
Paul Giger
8    Trogener Chilbiläbe, for violin, tenor saxophone & percussion 7:00
Paul Giger
Credits:
Composed By [All Compositions By] – Paul Giger
Design [Cover Design] – Andrew Ward
Ensemble – Schellenschötter, Silvesterchlauseschuppel
Percussion – Pierre Favre
Producer [Produced By] – Manfred Eicher
Tenor Saxophone – Jan Garbarek
Violin – Paul Giger 

EBERHARD WEBER - Stages Of A Long Journey (2007) FLAC (image+.cue), lossless

Stages of a Long Journey was recorded in Stuttgart in March of 2005, as part of a celebration of both the 20th anniversary of the Theaterhaus Jazzstage festival and as a 65th birthday celebration for bassist Eberhard Weber. Weber was asked to pick a number of his own compositions, rearrange them by writing new charts for the Stuttgart Radio Symphony Orchestra, and select his own band as well. Weber picked on former and current bandmates such as Gary Burton, Jan Garbarek, Rainer Bruninghaus, Marilyn Mazur, Wolfgang Dauner, Reto Weber, and human beatbox Nino G., and carefully chose material from his own catalog and pieces he had performed on in their initial recordings, such as Bruninghaus's "Piano Transition," Jerome Kern's "Yesterdays," Mazur's "Percussion Transition," and Carla Bley's "Syndrome." Those wondering if there is any actual "jazz" on this record need look no further than the gorgeous version of Bley's tune here, where Burton, Garbarek, and the bassist all shine. Another consideration for the listener is in Weber's beautiful, inventive, rhythmic charts for the orchestra (under the direction of Roland Kluttig). "Silent Feet," which opens the set, is one such exercise. What begins as a slow bowed bassline is colored and enlarged by the orchestra entering gradually, tensely, and dramatically, as grey dawn emerges from the night sky. A pulse begins just after Mazur's percussion entry, the band plays these intricate rhythmic phrases, and the orchestra adds genuine color, texture, and depth. They follow rhythmic signature perfectly, allowing the tune to evolve and bring its delightfully understated melodic frame (which is not inseparable from the pulse) to the fore. By the time Garbarek takes his solo and Weber plays double time behind him, the big brassy horns are ready to push and drop out only as Burton enters with a truly lovely and poetic solo.
There are a fine pair of duets played here as well, between Dauner on piano and Weber's bass on the lovely Kern number, and also "Seven Movements," shared by the bassist and Garbarek. They set the stage for what follows, the elongated "Birthday Suite" that encompasses five pieces -- bookended by gorgeous readings of two of Weber's best-known pieces, "The Colours of Cloë" and "Yellow Fields." On "Hang Around," a trio of Nino G., Weber's downright funky acoustic bass, and the self-designed percussion instrument played by Reto Weber (no relation) called the "hang," are in deep intuitive interplay. The work by G. is not a novelty, but something inventive, utterly fresh, and full of the energy -- especially in G.'s solo. The final two pieces of the evening are in many ways the most satisfying. The full band returns on "The Last Stage of a Long Journey," where the orchestra introduces the brooding and melancholy composition. Strings and the deep brass of tuba and euphonium gradually bring up the tempo and introduce the lithe melody, as Weber brings his bass up from the ether. When Bruninghaus restates the theme on the piano and Weber is allowed free play inside the rhythm, Burton begins to color it. When Garbarek's icy soprano saxophone cries out, it is arresting and rings true. The concert ends with a brief bass solo by Weber on "Air." In just over three minutes, the great bassist is not remotely interested in showing his chops but in playing this bittersweet little song as a folk tune. This is a watershed moment in Weber's recorded output, because it reveals his collective gifts as a musician, which, even when understated, are shining examples of the European jazz, folk, classical, and new music he has forged these last 40 years as a leader and as a valued sideman and composer.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Silent Feet 7:37
Bass, Written-By – Eberhard Weber
Conductor – Roland Klutting
Orchestra – SWR Radio Symphony Orchestra Stuttgart
Percussion – Marilyn Mazur
Piano – Rainer Brüninghaus
Soprano Saxophone – Jan Garbarek
Vibraphone – Gary Burton    
2     Syndrome 7:44
Bass – Eberhard Weber
Percussion – Marilyn Mazur
Piano – Rainer Brüninghaus
Tenor Saxophone – Jan Garbarek
Vibraphone – Gary Burton
Written-By – Carla Bley
3     Yesterdays 5:03
Double Bass [Double-Bass] – Eberhard Weber
Piano – Wolfgang Dauner
Written-By – Jerome Kern    
4     Seven Movements 5:54
Bass, Written-By – Eberhard Weber
Soprano Saxophone – Jan Garbarek
5     The Colours of Chloë
Bass – Eberhard Weber
Conductor – Roland Kluttig
Orchestra – SWR Radio Symphony Orchestra Stuttgart
Percussion – Marilyn Mazur
Piano – Rainer Brüninghaus
Soprano Saxophone, Tenor Saxophone – Jan Garbarek
Vibraphone – Gary Burton
6     Piano Transition 4:11
Written-By [From "Solo Piano Suite"] – Rainer Brüninghaus    
7     Maurizius 7:04
Eberhard Weber
8     Percussion Transition 3:03
Marilyn Mazur
9     Yellow Fields 7:01
Eberhard Weber
10     Hang Around 4:17
Bass – Eberhard Weber
Hang Drum [Hang], Written-By – Reto Weber
Human Beatbox [Beatbox] – Nino G.    
11     The Last Stage of a Long Journey 11:06
Bass, Written-By – Eberhard Weber
Conductor – Roland Klutting
Orchestra – SWR Radio Symphony Orchestra Stuttgart
Percussion – Marilyn Mazur
Piano – Rainer Brüninghaus
Soprano Saxophone – Jan Garbarek
Vibraphone – Gary Burton    
12     Air 3:10
Eberhard Weber
   

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

ART LANDE / JAN GARBAREK - Red Lanta (1974) FLAC (image+.cue), lossless

One of the earliest recordings to embody what would come to be known as the ECM sound, Red Lanta is a series of piano/reed duets that have a Scandinavian starkness offset, somewhat unfortunately, by a soft sentimentality that verges on kitsch. At the time, Garbarek was vacillating between the strident and thrilling explorations of his Triptykon and Witchi-Tai-To and his increased involvement with the fuzzier work of Keith Jarrett, and this collaboration moved him decidedly toward the latter. Art Lande composed all the pieces here and brings a Jarrett-esque sense of pastel prettiness and pastoral, folk-influenced serenity. Sometimes this works in isolation, the melody being simple and attractive enough to stand on its own; when offered back to back, a cloying quality sets in and an aural palate cleanser becomes a necessity. Still, this general approach proved extremely popular in the ensuing years, and devotees of ECM's later years will want to hear one of its points of germination. But the fire and passion of Garbarek's early work on albums such as Afric Pepperbird has been all but extinguished by this time. by Brian Olewnick
Tracklist:
1    Quintennaissance 5:35
Art Lande
2    Velvet 5:17
Art Lande
3    Waltz for A 3:43
Art Lande
4    Awakening Midweek 10:59
Art Lande
5    Verdulac 7:07
Art Lande
6    Miss Fortune 5:06
Art Lande
7    Open Return/Cancion Del Momento 4:44
Art Lande
8    Meanwhile 4:19
Art Lande
9    Cherifen Dream of Renata 2:07
Art Lande
Credits:
Flute [Flutes], Soprano Saxophone, Bass Saxophone – Jan Garbarek
Piano, Composed by – Art Lande

 

RALPH TOWNER - Solstice / Sound And Shadows (1977) FLAC (image+.cue), lossless

Ralph Towner is in fine form on this set of five tracks, the first of which, "Distant Hills," is an Oregon standard from the band's Vanguard period. Towner's compositions shine with their subtlety and grace. Towner's playing here, with a group of other ECM artists, is what made the label so noteworthy: it is full of elegance and aplomb and the musicians are as aware of space as they are of what fills it. There are no excessive solos in the improvisational sections no matter how long the tracks are. "Distant Hills" and "Balance Beam" are both over ten minutes in length but remain collaborative; compositional structure is given due consideration in the plot and expression of a particular player's solo. Towner, at least at this point in his career, and again much later, was a master of understatement. His sonic intentions were to allow his works to occur to the listener in process rather than be recognizable immediately. They develop, even the shorter pieces, over time and musical motif; modal structures seemingly appear from the ether though they had been in the making from the first measures. Also, rhythmic considerations are modular in Towner's works and Jon Christensen is the perfect drummer for executing them. Jan Garbarek's playing was just beginning to take on its melodic, contoured style incorporating folk melodies from his and other native lands into his playing -- though his tone was and is unchanged. And Eberhard Weber and Towner have near telepathic communication between them. His basslines and cello phrases hang like ghosts in the air unmoving in the stillness, allowing Towner's guitars to puncture them and move them along into different modes of expression and tonality. This is a very solid date by a group of musicians who could be nearly invisible as individuals in order to put a tune through its paces if that's what it took; a very fine effort.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist:
1     Distant Hills 10:43
Ralph Towner
2     Balance Beam 10:37
Ralph Towner
3     Along the Way 5:11
Ralph Towner
4     Arion 8:40
Ralph Towner
5     Song of the Shadows 9:25
Ralph Towner
Credits:
Bass, Cello – Eberhard Weber
Design [Cover] – B. Wojirsch
Drums – Jon Christensen
Producer – Manfred Eicher
Soprano Saxophone, Tenor Saxophone, Flute – Jan Garbarek
Twelve-String Guitar, Classical Guitar, Piano, French Horn, Composed By – Ralph Towner

RALPH TOWNER - Solstice (1975-2008) FLAC (tracks+.cue), lossless

When Ralph Towner burst onto the contemporary jazz scene in the mid-70s, listeners were well aware of his awesome talent as a member of Oregon. But when Solstice was issued on the ECM label, it took the brilliant guitarist's caché to a much higher level, especially as a composer. With the otherworldly curved soprano sax and flute playing of Jan Garbarek, the precise drumming of Jon Christensen, and unique bass sounds of Eberhard Weber, the music on this album lifted the ECM/Euro-styled jazz and improvised music to a new realm of pure expressionism. Simply put -- this music is stunningly beautiful. The incredible "Oceanus" begins with Towner's cascading guitar, followed by the swelling and symphonic bass of Weber, a swinging drum line by Christensen with Garbarek's atmospheric and dramatic curved soprano layering contrasting timbres, symmetry, and unusual colors. "Nimbus" opens with some astounding technical harmonics from Towner, more so considering the acoustic nature of his instrument. A circular theme in implied 3/4 underneath 4/4 leads to overdubbed flutes from Garbarek, bowed bass, the curved soprano in 6/8 all identifying the pure ECM sound. "Piscean Dance" is a funky workout between Towner and Christensen, the earthiest track on the date, and an exercise of intuitive confluence. Other portions of the disc are space oriented like the loose, free and haunting "Red & Black," "Visitation" with multiple percussion sounds of flexatone and shakers under Weber's bowed bass and Garbarek's alien dragonfly flute, while Weber's "Sand" has the musicians staring at the Crab Nebula while firmly rooted in a strut later in the piece. Towner's wondrous piano is heard on "Drifting Petals," a pretty and pensive waltz with unison lines alongside Garbarek's flute, then Towner switches to guitar in a deeper discourse with the quartet. As cold as the Norwegian studio (Oslo) they were recording in, "Winter Solstice" is not so much profound as it is telepathic, as the players use stop-start techniques, again inserting a 3/4 rhythm into a 4/4 equation. Of the many excellent recordings he has offered, Solstice is Towner's crowning achievement as a leader fronting this definitive grouping of ECM stablemates who absolutely define the label's sound for the time frame, and for all time.  by Michael G. Nastos  
Tracklist :
1 Oceanus   10:59
Ralph Towner
2 Visitation   2:32
Ralph Towner
3 Drifting Petals  6:54
Ralph Towner
4 Nimbus   6:26
Ralph Towner
5 Winter Solstice  3:58
Ralph Towner
6 Piscean Dance   4:11
Ralph Towner
7 Red and Black   1:14
Ralph Towner
8 Sand   4:08
Eberhard Weber
Credits :
Bass, Cello – Eberhard Weber
Composed By – Ralph Towner (tracks: 1 to 7)
Drums, Percussion – Jon Christensen
Producer – Manfred Eicher
Tenor Saxophone, Soprano Saxophone, Flute – Jan Garbarek
Twelve-String Guitar, Classical Guitar, Piano – Ralph Towner

JAN GARBAREK - Legend of the Seven Dreams (1988) FLAC (tracks+.cue), lossless

Though in step with its time, this release suffers from excessive reliance on ambient synthesizers, which litter much of the recording, rendering it only slightly more interesting than many of the Windham Hill new age recordings of the same era. Unfortunate, because the disc opens with strength and gradually peters out by the end. The disc opens with "He Came From the North," which features a melody based on a traditional Lapp joik from the artist's native Norway and progresses into a longer section with an interplay that is both sparse and rhythmic. The sax line here is astonishingly beautiful. The second piece, "Alchuri, the Song Man," a sax and percussion piece, is energetic and lively as well. And from here the energy gradually diminishes. Much can be attributed to popular styles of the time, but this release simply does not stand up to other music of its genre that came later. by Mark Allender
Tracklist:
1    He Comes From The North 13:34
Keyboards – Brüninghaus
Percussion, Voice – Vasconcelos
Soprano Saxophone – Garbarek
2    Aichuri, The Song Man 5:03
Tenor Saxophone, Percussion – Garbarek
3    Tongue Of Secrets 8:07
Bass – Weber
Flute – Garbarek
Keyboards – Brüninghaus
Percussion – Vasconcelos
4    Brother Wind 8:03
Keyboards – Brüninghaus
Percussion – Vasconcelos
Soprano Saxophone – Garbarek
5    It's Name Is Secret Road 1:43
Flute – Garbarek
6    Send Word 7:12
Bass – Weber
Keyboards – Brüninghaus
Percussion – Vasconcelos
Soprano Saxophone – Garbarek
7    Voy Cantando 6:48
Keyboards – Brüninghaus
Percussion – Vasconcelos
Tenor Saxophone – Garbarek
8    Mirror Stone I 1:11
Soprano Saxophone – Garbarek
9    Mirror Stone II 2:29
Soprano Saxophone – Garbarek
Credits:
Composed By [Compositions By] – Jan Garbarek
Design – Barbara Wojirsch
Musician – Eberhard Weber, Jan Garbarek, Naná Vasconcelos, Rainer Brüninghaus