JACQUES LOUSSIER TRIO - Vivaldi : The Four Seasons (1997) FLAC (image+.cue), lossless

Pianist Jacques Loussier has certainly had an unusual career, much of it spent performing jazz interpretations of Bach's music. While his original works have been noteworthy, Loussier's most famous projects have been his transformations of Bach's music. In 1997 he tackled Vivaldi's Four Seasons, four concertos that he performed and recorded with his trio. As with Bach's pieces, Loussier pays respect to Vivaldi's melodies and the development of the works while swinging the music. He divides each of the concertos into three parts, improvises tastefully while keeping the themes in mind, and leads his trio through some uncharted territory. Loussier occasionally recalls the style of John Lewis and Allegro Non Molto from the Summer piece has some resemblances to Lewis' "Django." Due to Loussier's impressive technique, respect for both idioms and his well thought-out concept, this unique set is a complete by Scott Yanow
Tracklist:
La Primavera - Spring (Concerto No. 1 In E Major)    
L'Estate - Summer (Concerto No. 2 In G Minor)    
L'Autunno - Autumn (Concerto No. 3 In F Major)    
L'Inverno - Winter (Concerto No. 4 In F Minor)     
Credits:
Composed By – Vivaldi
Double Bass – Vincent Charbonnier
Drums – André Arpino
Piano, Producer, Arranged By – Jacques Loussier

JACQUES LOUSSIER TRIO - Satie : Gymnopédies • Gnossiennes (1998) FLAC (tracks+.cue), lossless

 
Tracklist:
1     Gymnopédie No.1 / Var.1     4:35
2     Gymnopédie No.1 / Var. 2     4:32
3     Gnossienne No.3     4:25
4     Gnossienne No.6     5:22
5     Gnossienne No.2     4:16
6     Gymnopédie No.1 / Var. 3     5:03
7     Gnossienne No.4     7:08
8     Gnossienne No.5     4:12
9     Gymnopédie No.1 / Var. 4     3:42
10     Gnossienne No.1     3:52
11     Pas À Pas     3:44
Credits:
Bass – Benoit Dunoyer de Segonzac
Drums – André Arpino
Piano – Jacques Loussier
 

JACQUES LOUSSIER TRIO - Ravel's Bolero (1999) FLAC (tracks+.cue), lossless

Ravel: Bolero continues Jacques Loussier's series of jazz-inspired interpretations of classical music. His version of "Bolero" emphasizes the hypnotic, rhythmic structure of the work, and highlights his inspired, energetic playing. by Heather Phares
Tracklist:
1     Ravel's Boléro 17:10
    Arranged By – Jacques Loussier
    Nympheás
2     I. Allegro 6:06
    Composed By – Jacques Loussier
3     II. Andante 5:41
    Composed By – Jacques Loussier
4     III. Vivace 5:23
    Composed By – Jacques Loussier
5     IV. Largo 5:57
    Composed By – Jacques Loussier
6     V. Presto 3:50
    Composed By – Jacques Loussier
7     VI. Cantabile 3:03
    Composed By – Jacques Loussier
8     VII. Prestissimo 4:09
    Composed By – Jacques Loussier
Credits:
Bass – Benoît Dunoyer de Segonzac
Drums – André Arpino
Piano – Jacques Loussier

JACQUES LOUSSIER TRIO - The Music of Debussy (2000) FLAC (image+.cue), lossless

When Jacques Loussier gave the music of Johann Sebastian Bach the jazz treatment (as others, notably the Modern Jazz Quartet, had before him), it worked really well. The tumbling flow of Bach's contrapuntal lines, the square rhythms that just beg to be played with a swing feel -- everything about Bach that makes his music the farthest thing from jazz seems to make jazz adaptations inevitable. The French composer Claude Debussy is a less obvious choice, and on this album you see why. Debussy was a much more impressionistic composer, and his music doesn't have either the rhythmic vitality or the sense of driving tonal logic that fuels the music of Bach. That makes it harder to fit his compositions into a jazz context. That Loussier succeeds as much as he does is a compliment to his sensitivity as a pianist and to his trio's ability to work with him intuitively. Loussier's renditions of "Prelude a l'Apres-Midi d'un Faune" and "Reverie" sound a lot like Bill Evans at his most ethereal; things pick up a bit on "L'Isle Joyeuse," but even that relatively energetic track is pretty well lacking in swing. The final result is music that doesn't sound much like jazz, but is quite enjoyable anyway. by Rick Anderson 
Tracklist:
1    Clair de Lune 8:03       
2    Prelude a l'Apres-Midi d'Un Faune 10:47  
3    Araesque 6:23       
4    La Fille aux Cheveux de Lin 4:43  
5    L' Isle Joyeuse 6:06   
6    Reverie 5:10   
7    La Cathédrale Engloutie 6:23  
8    Syrinx 3:54
Credits:
Piano, Arranged By – Jacques Loussier
Bass – Benoit Dunoyer de Segonzac
Composed By – Claude Debussy
Drums – André Arpino

JACQUES LOUSSIER TRIO - Bach : The Brandenburgs (2006) FLAC (tracks+.cue), lossless

Depending on who you talk to, the third stream movement of the '50s was either an absolute blessing or an absolute curse. There are racial separatists who claim that third stream was an assault on African-American culture because it tried to "whiten" jazz, and there are equally silly individuals who insist that Beethoven and Mozart were jazz musicians but that Chick Corea, Michael Brecker and Pat Metheny are not. Discussions of third stream tend to inspire moronic comments from both pro-third stream and anti-third stream people, but the bottom line is that third stream has had both its ups and downs creatively (more ups than downs). Not everything that French pianist Jacques Loussier (one of Europe's leading third stream proponents) has recorded is great -- some of his jazz/Euro-classical experiments have worked well, some not so well -- but his risk-taking spirit clearly serves him well on Bach: The Brandenburgs. This 2006 recording finds Loussier's trio (which also includes bassist Benoit Dunoyer de Segonzac and drummer André Arpino) interpreting the six Brandenburg concertos that Johann Sebastian Bach (b. 1685, d. 1750) composed between 1708 and 1720, and interpret is definitely the operative word. Unlike a musician who plays Euro-classical music exclusively, Loussier does not play Bach's material note for note; he improvises, offering personal and introspective performances. Loussier is quite tasteful, and he makes Bach's compositions sound perfectly natural in a jazz setting. Bach: The Brandenburgs is not recommended to classical purists; this is an album for jazz piano enthusiasts who also happen to appreciate Bach's legacy, and those who fit that description will find Bach: The Brandenburgs to be one of Loussier's more lucid and artistically successful offerings. by Alex Henderson 
Tracklist:
Brandenburg Concerto No. 1 in F major, BWV 1046   
Brandenburg Concerto No. 2 in F major, BWV 1047   
Brandenburg Concerto No. 3 in G major, BWV 1048   
Brandenburg Concerto No. 4 in G major, BWV 1049   
Brandenburg Concerto No. 5 in D major, BWV 1050   
Brandenburg Concerto No. 6 in B flat major, BWV 1051
Credits:
Bass – Benoit Dunoyer De Segonzac
Drums – Andre Arpino
Piano – Jacques Loussier

JOHN LEWIS - Original Sin + Essence (2000) FLAC (tracks+.cue), lossless

 This Collectables reissue pairs up two albums by pianist, arranger, and Modern Jazz Quartet musical director John Lewis. Original Sin was Lewis' second experiment with a symphony orchestra. This ballet was originally performed in 1961 at the Alcazar Theatre in San Francisco, CA, with the libretto provided by beat poet Kenneth Rexroth based on Adam and Eve. Without the added excitement that improvisation could have provided, Original Sin comes across stiff. On the other hand, Essence, released in 1964, allows space for improvising around the charts provided by vibraphonist Gary McFarland. Arranged by Lewis, it featuring an array of jazz greats including Eric Dolphy, Phil Woods, Freddie Hubbard, Benny Golson, Jimmy Giuffre, and Jim Hall. Both sessions have their moments, but Essence is the main attraction on this disc. by Al Campbell

Tracklist:
 John Lewis - Original Sin (1961)
1    Creatoin of the World & Creation of Adam 3:54
John Lewis
2    Introduction 0:48
John Lewis  
3    Zebra, Lion, Camel 1:28  
John Lewis
4    Walrus, Ape 0:52
John Lewis      
5    Lamb, Leopard 1:47  
John Lewis
6    Rabbit, Skunk 0:44
John Lewis  
7    Variant V: Mountain Sheep, Deer 1:38  
John Lewis
8    Finale 2:11      
John Lewis
9    Birth of Eve 3:47  
John Lewis
10    Adam and Eve Pas de Duex 2:36
John Lewis
11    Teaching and Temptation 4:12  
John Lewis
12    Expulsion from the Garden of Eden 2:46  
John Lewis
Credits:
Conductor, Composed By – John Lewis
John Lewis ‎– Essence (1962)
13    Hopeful Encounter 4:40  
John Lewis
14    Tillamook Two 7:11  
John Lewis
15    Night Float 4:18  
John Lewis
16    Notions 4:00  
John Lewis
17    Another Encounter 5:10  
John Lewis
18    Wish Me Well 7:44
John Lewis
Credits:
Alto Saxophone – Eric Dolphy (tracks: 15)
Baritone Saxophone – Gene Allen (tracks: 14, 17), Jimmy Giuffre (tracks: 15)
Bass – George Duvivier (tracks: 15), Richard Davis (tracks: 13, 14, 16 to 18)
Basset Horn – Don Stewart (tracks: 14, 17)
Bassoon – Loren Glickman (tracks: 14, 17)
Clarinet – Phil Woods (tracks: 14, 17)
Composed By, Arranged By – Gary McFarland
Drums – Connie Kay
Flute – Harold Jones (tracks: 14, 17)
Flute [Alto] – Eric Dolphy (tracks: 14, 17)
French Horn – Gunther Schuller (tracks: 15), Bob Northern (tracks: 13, 16, 18), Robert Swisshelm (tracks: 13, 16, 18)
Guitar – Billy Bean (tracks: 13, 16, 18), Jim Hall (tracks: 14, 15,17)
Oboe – William Arrowsmith (tracks: 14, 17)
Piano – John Lewis
Tenor Saxophone – Benny Golson (tracks: 15)
Trombone – Mike Zwerin (tracks: 13, 16, 18)
Trumpet – Freddie Hubbard (tracks: 13, 16, 18), Herb Pomeroy (tracks: 16), Louis Mucci (tracks: 13, 16, 18), Nick Travis (tracks: 13, 16, 18)
Tuba – Don Butterfield (tracks: 13, 16, 18) 

 

JOHN LEWIS / SVEND ASMUSSEN - European Encounter (1962-2013) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

Violinist Svend Asmussen (who has had too few of his albums through the decades available in the U.S.) teams up with pianist John Lewis, bassist Jimmy Woode and drummer Sture Kalin on this 1962 session from Stockholm, Sweden. Most notable is the repertoire: six Lewis originals (including "Django") and Ornette Coleman's "Lonely Woman." Asmussen fits in well with Lewis and brings a solid sense of swing to the somewhat complex music. This date was reissued in 1986 as part of Atlantic's Jazzlore series. by Scott Yanow
Tracklist:
1    If I Were Eve    5:38
John Lewis
2    Winter Tale    5:38
John Lewis
3    Slater's Theme    3:30
John Lewis
4    Valeria    5:17
John Lewis
5    Lonely Woman 8:09
Ornette Coleman
6    Django    3:35
John Lewis
7    New York 19    7:25
John Lewis
Credits:
Bass – Jimmy Woode
Drums – Sture Kalin
Producer, Piano – John Lewis
Violin – Svend Asmussen 

JOHN LEWIS -Evolution (1999) FLAC (image+.cue), lossless

John Lewis, a founding member of the Modern Jazz Quartet (and architect, with Gunther Schuller, of the "Third Stream" movement that attempted a fusion of classical music and jazz), has always been known for the delicacy and refinement of his playing and for the quality of his compositions. This solo album will only add to his reputation in both regards. That he's able to make "Sweet Georgia Brown" sound like a recital piece is testament to his sophistication (and perhaps his sense of humor); that his own "Two Degrees East, Three Degrees West" manages to evoke New Orleans and Ravel simultaneously speaks to the depth of his musicianship. "Django," perhaps Lewis' most famous composition, is given a stop-action tango treatment here, and his "At the Horse Show" is as graceful as a colt. However, Lewis' voice is far too well-miked, which means he mutters and grunts in the left channel throughout the proceedings. Recommended nevertheless. by Rick Anderson
Tracklist:
1    Sweet Georgia Brown 2:54
Ben Bernie / Kenneth Casey / Maceo Pinkard
2    September Song 5:25    
Maxwell Anderson / Kurt Weill
3    Afternoon in Paris 5:10    
John Lewis
4    Two Degrees East, Three Degrees West 4:17
John Lewis
5    I'll Remember April 3:09
Gene DePaul / Patricia Johnston / Don Raye
6    Django 7:30    
John Lewis
7    Willow Weep for Me 3:22    
Ann Ronell
8    Cherokee 4:04    
Ray Noble
9    For Ellington 5:35
John Lewis
10    Don't Blame Me 3:50    
Dorothy Fields / Jimmy McHugh
11    At the Horse Show 2:49
John Lewis
Credits:
Piano – John Lewis 

JOHN LEWIS - Evolution II (2001-2014) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

On May 3, 2000, John Lewis turned 80 -- and almost half a century after the formation of the Modern Jazz Quartet, he could still inspire a variety of reactions. Over the years, Lewis' detractors have insisted that his piano playing is too polite and overly mannered; his admirers, however, have exalted him as the epitome of class and sophistication. To be sure, Lewis' pianism is quite sophisticated, but that doesn't mean that he doesn't swing or that he isn't soulful. Recorded in 2000 and released in early 2001, Evolution II isn't going to convert anyone who isn't already an admirer of the pianist's cool jazz/third stream approach. Anyone who has claimed that Lewis' playing is too polite won't have a change of heart after hearing this CD, but for Lewis' admirers, the rewards are great. Evolution II is the second installment of his Evolution trilogy; while the first Evolution was an unaccompanied solo piano recording, Evolution II finds him leading quartets that include Howard Alden or Howard Collins on guitar, George Mraz or Marc Johnson on upright bass, and Lewis Nash on drums. Except for the standards "Come Rain or Come Shine" and "What Is This Thing Called Love?," all of the songs are Lewis originals (including new compositions as well as familiar pieces like "Django" and "Trieste"). True to form, Lewis is elegant and swinging at the same time -- contrary to what his detractors have claimed, Lewis swings, but he does so on his own terms. For Lewis, there is no reason why jazz cannot be classical-influenced yet maintain the feelings of the blues. Although Evolution II falls short of essential, it is an enjoyable addition to the veteran pianist's catalog and demonstrates that his chops have held up well over the years. by Alex Henderson
Tracklist:
1    The Festivals 4:14   
John Lewis
2    One of Parker's Moods 3:54   
John Lewis
3    December, Remember 6:59
John Lewis
4    That! Afternoon in Paris 6:07    
John Lewis
5    Cain and Abel 6:52
John Lewis
6    Come Rain or Come Shine 5:03
Harold Arlen / Johnny Mercer
7    Trieste 4:17
John Lewis
8    Django 5:24
John Lewis
9    Sammy 4:09
John Lewis / Cole Porter
10    What Is This Thing Called Love? 5:52
Cole Porter
John Lewis feat: Cole Porter
CreditS :
Howard Alden - Guitar
Howard Collins - Guitar
Marc Johnson - Bass, Bass (Acoustic)
John Lewis - Composer, Piano, Producer
George Mraz - Bass, Bass (Acoustic),
Lewis Nash - Drums
Cole Porter - Composer, Performer

KEN PEPLOWSKI QUARTET - Memories of You (2007) FLAC (tracks+.cue), lossless)

Ken Peplowski is among the top clarinetists and tenor saxophonists of his generation. After a long, fruitful period recording as a leader for Concord, Peplowski started getting a number of offers to record for overseas labels. He alternates between the two instruments during these 2006 sessions, well accompanied by pianist Ted Rosenthal, bassist Gary Mazzaroppi (long Marian McPartland's bassist of choice), and drummer Jeff Brillinger, all veterans like the leader. Peplowski's lush tenor in the first interpretation of "Memories of You" recalls Ben Webster with his soft, breathy vibrato and lyrical style. He also caresses Roland Kirk's infrequently heard ballad "Bright Moments" and renders an elegant "Dream Dancing" as well. On clarinet, Peplowski's magical treatment of "In a Sentimental Mood" (backed solely by bass at first) suggests a bird's song. The cream of the crop is his warm interpretation of Billy Strayhorn's "Lotus Blossom." This set is perfect for late-night listening. by Ken Dryden
Tracklist:
1    Memories Of You    5:36
2    I'll Be Seeing You    3:53
3    Bright Moments    5:11
4    In A Sentimental Mood    6:55
5    Dream Dancing    8:24
6    Last Night When We Were Young    4:46
7    It Might As Well Be Spring    7:53
8    Lotus Blossom    5:10
9    But Not For Me    7:36
10    Poor Butterfly    6:31
11    Memories Of You Il    6:52
Credits:
Bass – Gary Mazzaroppi
Clarinet – Ken Peplowski
Drums – Jeff Brillinger
Piano – Ted Rosenthal
Tenor Saxophone – Ken Peplowski

 

KEN PEPLOWSKI - In Search Of (2011) FLAC (tracks+.cue), lossless

  Clarinetist and saxophonist Ken Peplowski has been a first-call sideman for decades, appearing on albums by the likes of Hank Jones, Leon Redbone, Charlie Byrd, Peggy Lee, George Shearing, and even Madonna. He has also recorded something like 30 albums as a leader, many of them brilliant. It will be hard for him to top this one, however. Supported by a trio consisting of pianist Shelly Berg, bassist Tom Kennedy, and drummer Jeff Hamilton, Peplowski gently but firmly establishes his mastery of multiple modern jazz genres without coming across as a show-off or sacrificing taste and musicality. The album's opening track, "The Thespian," serves almost like an opera overture, summarizing the stylistic themes to come: opening in a soft ballad mode, it suddenly and seamlessly shifts into straight-ahead bebop, then veers off into modal, almost impressionistic territory before coming back to earth on the out chorus. When Peplowski begins trading fours with Berg, it sounds like a genial but spirited conversation between old friends, which, in fact, it is. That track alone is nearly worth the price of the CD, but others follow that are just as good: the quietly soaring "Love's Disguise" (to which Peplowski's clarinet provides a particularly lovely note of melancholy grace), a handful of utterly gorgeous ballads (including "When Joanna Loved Me" and "A Ship Without a Sail"), and the light and lively "Peps," written by Berg for Peplowski. Oddly, the last three tracks on the program were pulled from a self-produced recording he made in 2007; one is a duo with bassist Greg Cohen, one a trio number with Cohen and vibraphonist Chuck Redd. But the final track is the funnest of them all: a duo version of "Rum and Coca Cola" played in homage to Professor Longhair at a benefit show shortly after Hurricane Katrina. It features Peplowski accompanied only by drummer Joe Ascione, and the variations he spins on this simple tune over the course of more than five uninterrupted minutes are a wonder to hear. It's a sweet, charming, and jaw-droppingly virtuosic finale to a brilliant album. by Rick Anderson
Tracklist:
1     The Thespian     5:14
2     Love's Disguise     8:02
3     When Joanna Loved Me     5:17
4     Falsa Baiana     7:05
5     A Ship Without A Sail     5:55
6     With Every Breath I Take     4:57
7     In Flower     5:34
8     Peps     5:31
9     The Nearly Was Mine     4:40
10     No Regrets     6:22
11     Within You And Without You     4:51
12     Rum And Coca Cola     5:20
Credits:
Joe Ascione - Drums, Percussion
Shelly Berg - Piano
Greg Cohen - Bass
Jeff Hamilton - Drums
Tom Kennedy - Bass
Ken Peplowski - Clarinet, Producer, Sax (Tenor)
Chuck Redd - Vibraphone

 

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

 

JAN GARBAREK - I Took Up the Runes (1990) FLAC (tracks+.cue), lossless

A more eclectic release than his preceding releases, Jan Garbarek's I Took Up the Runes satisfies listeners who had been more or less impatient for something with some meat and some muscle. Opening with a jazzy cover of Mari Persen's "Gula Gula," made fuller with bass guitar accompaniment that modifies the chord structure of the whole tune, the album next features the five-part "Molde Canticle," which spans from a dreamy esoteric sound to African folk music. Garbarek really wails in places, and it is a welcome surprise -- he should wail more than he does. Synthesizer sounds are starting to become less prominent as well. There is excellent piano work by Rainer Brüninghaus and excellent vocalizing by guest artist Ingor Ántte Áilu Gaup. A sign of good things to come. by Mark Allender
Tracklist:
1    Gula Gula 5:55
Arranged By – Jan Garbarek
Composed By – Mari Boine Persen
Molde Canticle 6:04
2    Part 1    5:13
3    Part 2    5:43
4    Part 3    9:54
5    Part 4    5:10
6    Part 5    6:06
Composed By – Jan Garbarek
7    His Eyes Were Suns
Composed By – Jan Garbarek
Composed By [Áilu Gaup Joiking "Biera, Biera"] – Traditional
8    I Took Up The Runes 5:24
Composed By – Jan Garbarek
9    Buena Hora, Buenos Vientos 8:51
Composed By – Jan Garbarek
10    Rahkki Sruvvis 2:26
Arranged By – Jan Garbarek
Composed By – Ingor Ántte Áilu Gaup
Credits:
Bass – Eberhard Weber
Design [Cover Design] – Barbara Wojirsch
Drums – Manu Katché
Percussion – Naná Vasconcelos
Piano – Rainer Brüninghaus
Producer – Manfred Eicher
Soprano Saxophone, Tenor Saxophone – Jan Garbarek
Synthesizer – Bugge Wesseltoft
Voice – Ingor Ántte Áilu Gaup

JAN GARBAREK GROUP - Twelve Moons (1993) FLAC (tracks+.cue), lossless

This 1992 recording by the Garbarek Group has their customary blend of Norwegian folk themes and original compositions, with the leader's big-toned soprano and tenor saxophones at the heart of a music that combines cool lyricism and intense, if restrained, passion. It's the emotion that Garbarek can concentrate in a single note that distinguishes his work. His soprano is a keening wail in the unaccompanied introduction to "Brother Wind March," his high-register tenor an impassioned cry on "The Tall Tear Trees." Rainer Bruninghaus's piano provides a reflectively lyrical contrast, while the shifting rhythms of percussionists Manu Katche and Marilyn Mazur add variety to the reiterated themes. The CD is filled with distinctively Norwegian touches. AllMusic

Tracklist:

1. Twelve Moons 7:35

Part One: Winter-Summer

Part Two: Summer-Winter

Jan Garbarek

2. Psalm 6:32

Jan Garbarek / Traditional

3. Brother Wind March 10:37

Jan Garbarek

4. There Were Swallows… 8:36

Jan Garbarek

5. The Tall Tear Trees 5:45

Jan Garbarek 

6. Arietta 6:21

Jan Garbarek / Edvard Grieg

7. Gautes-Margjit 11:53

Jan Garbarek / Traditional

8. Darvanan 4:54

Mari Boine / Mari Boine Persen

9. Huhai 7:29

Jan Garbarek

10. Witchi-Tai-To 5:43

Jim Pepper

Musicians

Jan Garbarek - soprano and tenor saxophones, keyboards

Rainer Bruninghaus - keyboards

Eberhard Weber - bass

Manu Katche - drums

Marilyn Mazur - percussion

Agnes Buen Garnas - vocal

Mari Boine - vocal

JAN GARBAREK / USTAD FATEH ALI KHAN - Ragas and Sagas (1992) FLAC (tracks+.cue), lossless

The saxophone is not an instrument usually associated with Pakistani music. And Pakistanis are not especially famous for collaborating with Norwegians. But that is what listeners have on this incredible recording. The music is predominantly Pakistani in sound, tonality, and structure; voice, sarangi, and tabla improvise along with Garbarek's saxophone on every track. For aficionados of Indian or Pakistani music, this is a great recording; Garbarek's lines are right in step with the traditional styles of improvisation. Listeners unacquainted with these traditions will find this recording a mesmerizingly exotic disc. Those familiar with Garbarek's work will be very surprised. This is a completely unique recording for him; one can only hope that he makes further explorations in this vein. by Mark Allender

Tracklist:

1 Raga I 8:45

Ustad Fateh Ali Khan

2 Saga 5:25

Jan Garbarek 

3 Raga II 13:05

Ustad Fateh Ali Khan

4 Raga III 11:53

Ustad Fateh Ali Khan

5 Raga IV 12:56

Ustad Fateh Ali Khan

Credits:

Jan Garbarek - Composer, Flute, Performer, Sax (Soprano), Sax (Tenor)

Shaukat Hussain - Tabla

Manu Katché - Drums

Nazim Ali Khan - Sarangui

Ustad Fateh Ali Khan -  Vocals, Voices

Deepika Thathaal - Vocals, Voices

JAN GARBAREK - Visible World (1995) FLAC (tracks+.cue), lossless

Apart from David Sanborn, probably no living saxophonist has a more instantly recognizable voice than Jan Garbarek; actually, given the fact that Sanborn's sound is so widely copied, Garbarek's may be easier to identify in a blindfold test. This album in particular puts that sound front and center. Garbarek's the show; he composed all of the music, and is essentially the only soloist. The music (much of which was composed as soundtrack material for film or video) is quintessential Garbarek, full of the world music influences that have characterized his work since the 1970s. Garbarek's resonant, carefully articulated tenor and soprano tone suits the spacious, minor/modal themes. He's as much a singer as instrumentalist. Garbarek also plays digital synthesizers, mostly as string or flute pads underneath the folkish melodies. The record's most notable secondary player is Garbarek's ECM labelmate, the bassist Eberhard Weber, whose lyric sensibility is a virtual mirror of Garbarek's. This is quiet, contemplative music for the most part -- attractive, but not superficially pretty. Its grooves are less celebratory than melancholic. There's an intensity here borne of deep concentration and commitment to beauty. Garbarek has come a long way since his early days as a quasi-free jazz experimentalist. This music is not jazz, nor is it experimental. But it is compelling in its way, representative of a first-rate creative musician, beyond category. by Chris Kelsey
Tracklist:
1    Red Wind 3:53
Jan Garbarek
Shaker – Marilyn Mazur
2    The Creek    4:33
Jan Garbarek
3    The Survivor    4:46
Jan Garbarek
4    The Healing Smoke    7:16
Jan Garbarek
5    Visible World, Chiaro -    4:09
Jan Garbarek
6    Desolate Mountains I    6:47
Jan Garbarek
7    Desolate Mountains II    6:02
Jan Garbarek
8    Visible World, - Scuro    4:34
Jan Garbarek
9    Giulietta    3:46
Jan Garbarek
10    Desolate Mountains III    1:33
Jan Garbarek
11    Pygmy Lullaby 6:14
Arranged By – Jan Garbarek
Music By [Melody] – African traditional
12    The Quest 3:00
Jan Garbarek
Synthesizer – Rainer Brüninghaus
13    The Arrow 4:23
Jan Garbarek
Tabla, Performer [Spiral] – Trilok Gurtu
14    The Scythe    1:50
Jan Garbarek
15    Evening Land 12:29
Jan Garbarek
Vocals, Composed By – Mari Boine
Credits:
Bass – Eberhard Weber (tracks: 2, 3, 7, 8, 11, 12)
Composed By – Jan Garbarek (tracks: 1 to 10, 12 to 15)
Design [Cover] – Barbara Wojirsch
Drums – Manu Katché (tracks: 2, 3, 11, 13), Marilyn Mazur (tracks: 6, 7, 9)
Percussion – Marilyn Mazur (tracks: 4, 5, 8, 9, 11 to 13, 15)
Piano – Rainer Brüninghaus (tracks: 3, 4, 6, 7, 10, 11)
Producer – Manfred Eicher
Soprano Saxophone, Tenor Saxophone, Keyboards [Electronic], Percussion [Additional], Clarinet [Meraaker] – Jan Garbarek
Note
Tracks 1, 2, 4, 12 and 13 are parts of a "Mangas Coloradas Suite" involving descendants of the Chiricahua Apache Chief Mangas Coloradas.
Tracks 3 and 4 were made for the feature film "Trollsyn".
Tracks 5 and 8 were made for the TV ballet "Bønn".
Track 15 was done for a music-video production entitled "Aftenlandet". 

JAN GARBAREK - Rites (1998) 2xCD / FLAC (tracks+.cue), lossless

Since the late '70s, Jan Garbarek has been carving out a place within jazz for the folk and spiritual traditions of the indigenous peoples of Scandinavia, the Netherlands, and finally of those people all over the world. Rites, a double CD, is his attempt at forging a synthesis that takes improvisation into the heart of ritual music and creates a new form of spiritual from them both. Using a strategy for each of the discs, the first one digs deep into the spiritual and mystical side of his language. Garbarek plays soprano and tenor as well as synthesizers, drum machines, and samples -- always understated, always elegant -- and utilizes the talents of some of his running mates as well as new ones. Rainer Bruninghaus appears sporadically throughout, as does bassist Eberhard Weber, and drummer/percussion wizard Marilyn Mazur is ubiquitous. The music is slow, tenuous, and repetitive. It hardly matters -- on disc one, anyway -- which of the pieces are being played. All of them have spare, chant-like melodies that are lifted by myriad percussion instruments and keyboards, which provide a spacious ambience in which to enfold them both. Even Garbarek's trademark icy saxophone -- usually made more so by Manfred Eicher's production -- is warm, watery, and deeply entrenched in this warm mix that falls over listeners like a fine meditation blanket; like that blanket, it begins to stir emotions from deep within the heart of the listener. While these songs all segue into one another, it is worth noting that Garbarek recut "It's OK to Listen to the Grey Voice" for this collection, where it's performed with deeper conviction and fits better than it did on the album it was named for. Disc two of Rites is a bit of a different story. While the music is indeed intended for ritual, it comes from the celebratory side of the aisle rather than the contemplative one. Here are dances, Garbarek's versions of gospel shouts, processionals, festival waltzes, and all manner of joyful ceremonies completing the circle. On one collection, listeners get music for prayer, contemplation, and grief, as well as a funky European read of indigenous music for moving to and celebrating. Clearly this is what sets Rites above Garbarek's other recordings, him taking that balance he possessed so early in his career back again and putting it to work in a near-sacred setting. (This comment is posted on allmusic by Thom Jurek, follower of our blog O Púbis da Rosa)

Tracklist 1 :
1    Rites 8:27
Composed By – Jan Garbarek
Synthesizer [Additional Synthesizer], Effects [Electronic Effects] – Bugge Wesseltoft
2    Where The Rivers Meet 7:01
Composed By – Jan Garbarek
Cymbal [Additional Cymbals], Tom Tom [Additional Toms] – Marilyn Mazur
3    Vast Plain, Clouds 5:53
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Keyboards [Keyboard] – Rainer Brüninghaus
4    So Mild The Wind, So Meek The Water 6:09
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Piano – Rainer Brüninghaus
5    Song, Tread Lightly 7:40
Composed By – Jan Garbarek
Slit Drum, Cymbal [Additional Cymbals], Tom Tom [Additional Toms] – Marilyn Mazur
6    It's OK To Listen To The Gray Voice 6:43
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Keyboards [Keyboard], Piano – Rainer Brüninghaus
7    Her Wild Ways 6:44
Bass – Eberhard Weber
Composed By – Jan Garbarek
Composed By [Including Fragments Of] – Trad. Halling-Joron
Drums – Marilyn Mazur
Piano – Rainer Brüninghaus

Tracklist 2 :
1    It's High Time 3:31
Composed By – Jan Garbarek
Composed By [Including Fragments Of A] – Sami Trad. Joik
Synthesizer [Additional Synthesizer], Effects [Electronic Effects] – Bugge Wesseltoft
2    One Ying For Every Yang 6:32
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Keyboards [Keyboard] – Rainer Brüninghaus
3    Pan 6:11
Composed By – Jan Garbarek
4    We Are The Stars 5:00
Choir – Boys From The Choir "Sølvguttene"
Composed By – Jan Garbarek
Conductor – Torstein Grythe
5    The Moon Over Mtatsminda 3:57
Composed By – Jansug Kakhidze
Orchestra – Tbilisi Symphony Orchestra
Vocals [Singer], Conductor – Jansug Kakhidze
6    Malinye 6:19
Accordion – Bugge Wesseltoft
Composed By – Don Cherry
Drums – Marilyn Mazur
7    The White Clown 3:44
Bass – Eberhard Weber
Composed By – Jan Garbarek
Drums – Marilyn Mazur
Keyboards [Keyboard] – Rainer Brüninghaus
8    Evenly They Danced 5:14
Composed By – Jan Garbarek
Synthesizer [Additional Synthesizer], Effects [Electronic Effects] – Bugge Wesseltoft
9    Last Rite 8:24
Composed By – Jan Garbarek
Synthesizer [Additional Synthesizer], Effects [Electronic Effects] – Bugge Wesseltoft
Credits :
Soprano Saxophone, Tenor Saxophone, Synthesizer [Synthesizers], Sampler [Samplers], Percussion – Jan Garbarek

JAN GARBAREK - In Praise of Dreams (2003) FLAC (tracks+.cue), lossless

It has been six years since saxophonist/composer Jan Garbarek issued a new recording under his own name. For In Praise of Dreams Garbarek enlisted violist Kim Kashkashian and frequent collaborator Manu Katché on drums. Garbarek, who composed the album's 11 selections, plays saxophones as well as a host of keyboards and percussion, while Katché plays acoustic and electronic drums along with Kashkashian's viola. In many ways this is the most radical recording that Garbarek has ever issued, but not because it's outside -- quite the opposite. This is easily the warmest, most accessible outing Garbarek has ever issued because though there are no vocals, Garbarek has clearly written "songs" on this set, with identifiable structures that are followed almost throughout. Though he is no stranger to the form, having employed it almost continually for the last 20 years, he has never engaged it so thoroughly and completely. Previously, he has engaged improvisation to get song to the breaking point and move it somewhere else. Here it is always present; surprise happens inside the formal frameworks of these compositions. Beautiful, soulful lines underscore and recontextualize the saxophonist's trademark Nordic iciness of tone on the opener, "As Seen from Above," with its spiraling soprano, lush keyboards, and hypnotic loops. In its warmth, it comes very close to a distinctly European kind of groove/soul-jazz. The interplay between Kashkashian and Garbarek on the title track offers rounded, multidimensional sonorities winding through the intro before spilling into a call-and-response melody. The repetitive keyboard line and Katché's mantra-like drumming under the loops draw the listener inside the song's heart and extend the edge for the front line. The restrained romanticism shown by Kashkashian on her nocturnal solo intro to "One Goes There Alone" is nearly breathtaking. As it gives way to the tune itself, it's slow, reflective, and rooted deeply in the tension created between percussion and Garbarek's minimal backing response lines. When he solos later in the tune, he's clearly blowing blues into her elegiac line. The blues notion continues in his phrasing on "Knot of Place and Time," slipping through the landscape of Kashkashian's elegant, near heartbreakingly poetic soundscape. And so it goes. Things get more speculative on "Scene from Afar" and "Cloud of Unknowing," but it hardly matters since these song forms are nonetheless immediately recognizable, presenting the nether side of the equation. It emerges again with "Conversation With a Stone" and whispers to a close with "A Tale Begun," a mantra-like duet that closes this strong set that will undoubtedly, if it gets the opportunity to be heard, garner Jan Garbarek some new fans. Poetic, moving, and marvelous, In Praise of Dreams is a welcome return.
(This comment is posted on allmusic by Thom Jurek, follower of our blog O Púbis da Rosa)

Tracklist:
1    As Seen From Above    4:42
2    In Praise Of Dreams    5:21
3    One Goes There Alone    5:06
4    Knot Of Place And Time    6:22
5    If You Go Far Enough    0:39
6    Scene From Afar    5:14
7    Cloud Of Unknowing    5:22
8    Without Visible Sign    4:59
9    Iceburn    4:59
10    Conversation With A Stone    4:18
11    A Tale Begun    4:39
Credits:
Drums, Electronic Drums [Sampled Or Looped Electronic Drums] – Manu Katché (tracks: 1, 3, 4, 6, 9, 10)
Producer – Jan Garbarek, Manfred Eicher
Tenor Saxophone, Soprano Saxophone, Synthesizer [Synthesizers], Sampler [Samplers], Percussion, Composed By – Jan Garbarek
Viola – Kim Kashkashian (tracks: 2 to 4, 6 to 10)   

BRANFORD MARSALIS - Renaissance (1987) FLAC (tracks+.cue), lossless

The high point of Branford Marsalis' third Columbia release as a leader is a 15-minute version of Jimmy Rowles' "The Peacocks" played in a trio with pianist Herbie Hancock and bassist Buster Williams. The remainder of the program matches Marsalis with pianist Kenny Kirkland, bassist Bob Hurst, and drummer Tony Williams on a pair of standards ("Just One of Those Things" and a live version of "St. Thomas"), J.J. Johnson's "Lament," and originals by Marsalis and Williams. Although he did not have an immediately recognizable sound on tenor and soprano at this point, it was obvious from nearly the start that Branford Marsalis would have a very significant career. This is one of his better early efforts. by Scott Yanow

Tracklist:

1    Just One Of Those Things 7:46
Written-By – C. Porter
2    Lament 5:58
Written-By – J.J. Johnson
3    The Peacocks 15:00
Written-By – J. Rowles
4    Love Stone 6:24
Written-By – T. Williams
5    Citadel 10:42
Written-By – T. Williams
6    The Wrath (Structured Burnout) 6:29
Written-By – B. Marsalis
7    St. Thomas 4:50
Written-By – S. Rollins
Credits:
Bass – Buster Williams (tracks: 3), Bob Hurst (tracks: 1, 2, 4 to 7)
Drums – Tony Williams
Piano – Herbie Hancock (tracks: 3), Kenny Kirkland (tracks: 1, 2, 4 to 7)
Tenor Saxophone, Soprano Saxophone – Branford Marsalis

BRANFORD MARSALIS QUARTET - Eternal (2004) FLAC (tracks+.cue), lossless

 Eternal finds saxophonist Branford Marsalis in a contemplative mood performing a mix of original and standard ballads with his usual quartet of pianist Joey Calderazzo, bassist Eric Revis, and drummer Jeff "Tain" Watts. The title track, written for his wife Nicole, is a hushed and cerebral affair, but never feels anything but warm. Similarly, the lead-off track, "The Ruby and the Pearl," contains the faint blush of Ellington-ian exoticism and "Gloomy Sunday" brings to mind the rumbling and atmospheric late-'60s work of longtime Marsalis touchstone John Coltrane. The album, his second solo outing for his Marsalis Music label, is dedicated in memory to a list of people one can only assume were as influential musically on Marsalis as emotionally. Among them are bassist Malachi Favors, drummer Elvin Jones, saxophonist Steve Lacy, and the one and only Ray Charles. Their spirits are palpable here as Marsalis and his band have clearly documented a handful of quietly beautiful and deeply moving performances. by Matt Collar
Tracklist:
1    The Ruby And The Pearl 8:53
Written-By – Livingston & Evans
2    Reika's Loss 7:51
Written-By – Jeff "Tain" Watts
3    Gloomy Sunday 12:43
Lyrics By – Sam Lewis
Written-By – Laszlo Javor, Rezső Seress
4    The Lonely Swan 9:04
Written-By – Joey Calderazzo
5    Dinner For One Please, James 8:00
Written-By – Michael Carr
6    Muldoon 4:13
Written-By – Eric Revis
7    Eternal 17:41
Written-By – Branford Marsalis
8    Body And Soul ( Bonus Track) 5:09
Credits:
Bass – Eric Revis
Drums – Jeff "Tain" Watts
Piano – Joey Calderazzo
Recorded By, Mixed By – Rob "Wacko" Hunter
Saxophone, Producer – Branford Marsalis