JAN GARBAREK

Dear mother, what is this? What a greath album. We for sure have to cope with could be named as "prog", I know, but the sound really seams to Mark Ishan soundtrack, "beast of war" from de eighties movie, way better I can add.

It's just har pick one, as the entire album is so good, but we kept these two:

side 1 - With "withe noise of forgetfullness", we begins our progressive journey, so hipnotic it is.You can submerge sligthly in a warm ocean of a distant planet, or escape rapidly form the mediocracy of our times in Brazil, 2021 for example.

side 2 - In a tune as "mission: to be where I am" the sound turns you back, from where did you go, lik some kind of organic symphony, that is what best describes the entire "oeuvre majeure", in wich we have the accept, each music working as a team in a Bach's work.

So it explains why do you fell this way after finishing the audition, with "saudade" like we say in portuguese.

I'll be short this time, because frankly I didn't enjoy this album, or if I did, only mildly for brief moments. I do feel a bit bad to give a low rating for an album that is considered "highly recommended" (All Music Guide gives 4½ stars). Now I also wonder if I sincerely liked Garbarek's next album Wichi-Tai-To (1974) worth four stars, or did I give some objective extra for it; probably I did a little, but obviously I find Wichi-Tai-To more interesting, much more accessible and diverse.

Here, as the cover design screams out, the Norwegian saxophonist-flautist is accompanied by his countryman Arild Andersen on double bass and the Finnish percussionist Edward Vesala, whose drumming is heavier compared to Garbarek's former drummer Jon Christensen's style. No wonder when you remember that a few years prior Vesala had played in APOLLO, the Finnish one-timer heavy prog band.

The music on Triptykon was, I believe, mostly done by improvising. At least it sounds like that, and most of the tracks are credited to the whole trio. The legendary free jazz saxophonist Albert Ayler is a good comparison. There are no clear melodies one would remember afterwards. Instead Garbarek's saxes wail in a raw and expressionistic manner. The music's atmosphere is rather bleak and introvert all through the album. Even the flute sounds unpleasant here. On later decades Garbarek would become one of my biggest jazz favourites with his Scandinavian, airy and elegant style referred as "fjord jazz". but this early album represents the kind of [free] jazz I can't really get into. Hence only two very *SUBJECTIVE* stars.

3.75 stars.

"Officium Novum" is a collaboration between saxophonist Jan Garbarek and the Hillard ensemble, a 4-man vocal ensemble ranging from baritone to contratenor. It is the sequel to the 1994 album "Officium". Mind you: this has nothing to do with rock - it is an album of a classical vocal group and Garbarek's melodies and improvisations on top.

The album title is slightly misleading, really. "Officium" is Latin and would refer to a Catholic service, yet while much of the music is based on traditional music used in services, none of the tunes are of Latin origin, but rather the much neglected and in my book more interesting Armenian Orthodox musical heritage which was a new experience for me. Nor does the album follow the service structure of a traditional "Mass" in classical music with Sanctus, Agnus Dei, Gloria etc (there is the Armenian Orthodix equivalent of a Sanctus here, though, and a Litany), but is a somewhat haphazard collection of loosely connected tunes with a common spiritual theme.

Musically the listener is in for a highly enjoyable and pleasureable experience here. The music itself is varied, ranging from 3rd century chants to contemporary music (an a capella piece by Arvo P'rt) and a couple of new Garbarek tunes. The uniformity of expression, however, means the tunes do not feel disparate but as a nicely crafted whole. This is music to immerse yourself in. I'd lie back in bed with some good headphones. It is music for those who are open to the spiritual - religious or otherwise (many of the tunes are in Armenian, so you probably won't get the lyrics anyway).

Wonderful though it is, I cannot give it quite the score it could have had. First, the music is drenched in reverb, too much for my taste. It was recorded in some room or other at a remote Austrian monestary, presumably with stone walls and the mic some whay away from the performers. I really would have liked a somewhat dryer sound. As it is, the feeling I get is it's a bit too remote, too aloof, as if they don't really care whether anyone's listening or not. Garbarek's exquisite but icy tone on the soprano sax adds to this, and for me the warmer tenor sax works better, feels more inclusive. I guess it's in keeping with the ancient traditions of the orthodox church, however, whose liturgy has remained virtually unchanged for well over 1000 years, I believe. You feel the ancient spirit of the chant of the monks going about their unchanging daily routine of prayer. I'm reminded of Gregorian chants now and again, although this is not Gregorian, of course, which is Latin, and all the music is polyphonic.

I also find a full hour is a little too much. I couldn't keep focus throughout.

A thoroughly enjoyable experience nonetheless. Lie back in bed and relax, meditate or whatever, and allow yourself to be transported.

Norwegian saxophonist and composer Jan Garbarek started his recording career in the late 60's. During the 70's he made albums in a breathtaking pace, often in a more or less equal collaboration with other musicians such as Terje Rypdal or Keith Jarrett. The jazz world seems to consider Witchi-Tai-To as one of his biggest classics. Well... I'm not saying this wouldn't be very good jazz album, but it's surely not the most representative of Garbarek's "icy" Scandinavian trademark sound, and to start with, none of the compositions are by himself. Actually I'm better familiar with his more recent (from the mid-80's onwards) output which I like a lot. According to the sole previous reviewer Snobb, this one was different from Garbarek's earlier, more avant- oriented releases, reaching "the peak of still innovative and accessible symbiosis". Maybe that explains its high status.

It's a quartet effort, pianist Bobo Stenson marked as equal to Garbarek. Stenson is a fantastic artist in his own rights, and if you generally enjoy piano as the lead instrument in jazz, you'll find it easy to enjoy this album. The opening piece 'A. I. R.' is written by Carla Bley who also had recorded it. Garbarek's soprano sax is wailing around the restricted basic pattern. Thanks to the 8-minute length, it feels both meditative and epic. 'Kukka' (the word means flower in Finnish, but it may be just a coincidence) is composed by the quartet's bassist Palle Danielsson. This is rather mellow jazz piece, highlighting the bright and decorative piano playing.

'Hasta Siempre', originally a Che Guevara -themed protest song by Cuban musician Carlos Puebla, sees Garbarek giving his all on tenor sax. Despite the passion, eight minutes is perhaps a bit too much for this piece. Like 'Kukka', the title track written by Jim Pepper is another shortish, safe and melodic jazz tune, with solistic spots for both tenor sax and piano. Very enjoyable. And finally there's a 20-minute version of Don Cherry's 'Desireless' which originally lasted only a minute on Cherry's Relativity Suite (1973). This is really great stuff, the piece proceeds with full inspiration from the quartet. In the middle I find myself being spellbound by the bass line. The lengthy bass solo that follows the passionate, sax-dominated section is for me a slight moment of boredom, as bass solos in jazz have never really impressed me. The epic closes beautifully in a slow and thoughtful manner.

My expectations on this album were not very high (namely as a Jan Garbarek work), but I found a lot to enjoy in it, and if it's seen as one of the jazz classics of the 70's, I have no strong reason to disagree.

- The First Review Of This Album -

All fans of this Norwegian saxophonist/composer and the standout artist in the fantastic ECM label, take notice. This 2-disc set is his only live release, and it's a very good one. Well, I can imagine it being even better if there had been some more musicians from the Garbarek catalogue involved (such as percussionist Marilyn Mazur or violinist Kim Kashkasian), but one really can't complain about this line-up featuring pianist Riner Brüninghaus, drummer Manu Katché and bassist Yuri Daniel.

As it apparently is more typical in jazz than in rock, there are many tracks new to a listener familiar with Garbarek's studio albums. Some compositions are credited to his fellow musicians, one each, and there are tracks originally written by L. Shankar and Milton Nascimento, one each. But surprisingly many Garbarek compositions too were new to me, who have listened to quite a many of his studio albums.

As I'm usually not that keen to have multiple versions of the same music, that's pretty suitable, but on the other hand, a little more familiarity with the compositions would probably have made the impression greater. Besides the differences between studio and live tracks are surely bigger than in rock music. To me the most familiar track here was 'Twelve Moons' - and it's not a carbon copy of the studio version. I also had heard at least 'Voy Cantando' from 1988's Legend of the Seven Dreams before, but without really memorizing it. Anyway, what counts is that the playing here is excellent, and the concert in its entirety is well balanced and enjoyable.

Manu Katché's drum solo 'Grooving Out!' is nice but I bet he could have done something more adventurous too (or maybe Neil Peart's breath-taking solo numbers on RUSH concerts make everything else seem tame in comparison).

First Keith Jarrett recordings on ECM with Jan Garbarek and his rhythm section (often known as Jarrett's European quartet).Comparing with Garrett American quartet, music there is less experimental and adventurous, and whole sound is influenced by Garbarek's Nordic folk.

Obvious project's leader is Jarrtett for sure. His playful piano improvs are central sound of album's music and most attractive its element. Garbarek's sax sounds far from his experimental works of early 70s and shows his growing trend to melodic simplified tunes, influenced by folklore, and with only occasional interesting improvs.He has enough space on this album, but comparing with Jarrett piano, sounding if not risky,but very jazzy on American manner, Garbarek's musicianship adds more simplified feeling to all sound.

Rhythm section is competent, but as in cases with previous Garbarek's releases with them are great supporting team and hardly more.Musically album varies from post-bop with serious Jarrett's classical influences to more polished mix of third stream and Nordic folk, but in all cases sound is well rounded, emotionally cool and only Jarrett great piano playing makes it alive.

Borderline album in many senses: after its release Jarrett will continue working for ECM recording few more albums with European quartet, Garbarek will develop similar musical direction on his later albums, but without Jarrett's jazz roots Garbarek's music very soon will be transformed to cold background world fusion,close to new age. The sound, presented on this album (as well as many similar releases of mid-late 70s) will evolute to post-bop rooted, but comfortably-polished melodic contemporary jazz of 90s.

I believe you was told more than twice Witchi-Tai-To is Garbarek's best album. And it could be the truth if you like cool polished comfortable sound of ECM recordings of mid 70s. Otherwise you find here good musicians' competent playing and well organized post-bop jazz with lot of melodic elements to make it more comfortable and few free-jazz spices to avoid it of being boring.

Released as Jan Garbarek-Bobo Stenson quartet album, this release contains music seriously different from Garbarek's early quartet's releases. If first three Garbarek's solo albums were all great to excellent collections of hungry and sharp innovative avant-jazz, later Garbarek turned to more accessible music, mixing his early avant-garde sound with post-bop and Nordic folklore.

Here on Witchi-Tai-To (which is real Garbarek - Stenson duo work with competent rhythm section on support) he reaches the peak of still innovative and accessible symbiosis.All songs but one are mostly known American jazz composers's compositions, from Carla Bley to Don Cherry. Garbarek-Stenson duo demonstrates wide possibilities playing melodic post-bop on the edge between still experimental (but never risky) and comfortable. Music sounds really nice, but are from one hand too polished, and from other - too much secondary. Garbarek's tenor sax sounds extremely clear and quite pleasant (and Coltrane-like), Stenson demonstrates all his influences (Jarrett,etc). Carlos Puebla composition "Hasta Siempre" reminds Charlie Haden/Carla Bley's Liberation Music Orchestra...

Luckily, this album (the last Garbarek's one for years)is still the one with positive balance of inspiration and conformity. Don't expect explosion of Garbarek's earlier works, but just very professional pleasant and not boring release.

My rating is 3,5 .

Sart is Jan Garbarek's second release on ECM label and third in line release of his quartet (yes pianist Bobo Stenson collaborates on Sart as fifth member, but his participation is of quite limited character and didn't change quartet's musical direction, so I think it's not a big mistake to count this album as Garbarek's quartet + Bobo Stenson release). After these three Garbarek's solo releases he will change his band's format to trio, and musical direction will start changes dramatically.

Returning back to Sart, this album sounds in a key of previous quartet works, combining electric fusion and acoustic avant-garde jazz elements. Comparing with previous album (I believe "Afric Pepperbird" is absolute Garbarek's peak release) Sart is not so explosive and sharp, but more mature. Garbarek's sax sounds often seriously influenced by electric period Miles Davis (electric Terje Rypdal guitar's sound only support this feeling), but on other compositions he turns more towards screaming European avant-garde jazz.

On all album Terje Rypdals' guitar is very important instrument,seriously influenced all music's sound with jazz fusion flavor. On his next (trio's) album Garbarek will play guitar-less music, and what a huge difference in sound it would be!

I think that three first Garbarek's albums are possibly most adventurous,experimental and interesting series in all his discography.On his later releases he will turn slowly to more accessible sound, melting jazz with folklore and classics and using much more polished sound. There will be some really successful albums still released, but Garbarek's golden legacy is these three very first works.

Jan Garbarek's fourth solo album (and third on ECM label). After two quartet releases, and one quintet (same Garbarek's quartet plus Bobo Stenton on keyboards) and two brave and hungry ECM avant-garde albums, Garbarek changed his band's format to trio. Guitarist Terje Rypdal is gone and Finnish drummer Edward Vesala came instead of Jon Christensen.

As a result of personal and band format's changes, this album's music is quite different. Free jazz of 60s influence is still really strong, but guitar-less trio with more straight ahead and heavy drummer recorded a collection of impressionist pictures instead of previous energetic and sometimes even sharp free-jazz. Important new element in Garbarek's music is huge doze of Nordic folklore, mixed with imaginative free-jazz. Some compositions contain strong (Nordic folk's) melodies and whole music, even if still dark in a moments, are far not so explosive and sharp, as before.

Innovative (for a moment of release) combination of musical elements and great musicianship make both this album another great turn in Garbarek earlier career. Listening to this album one can easily understand where from later Garbarek's world fusion compositions were started. Happily, this album is still very artistic,innovative and inspired, nothing like many later conformist Garbarek's releases.

Jan Garbarek's solo debut, released on US-label Flying Dutchman under "Esoteric Circle" project's name (and later re-released as his solo album), is really interesting release for every Garbarek fan.

First of all,music presented there is a bit raw but innovative mix of post-bop, fusion and avant- garde jazz. Musician's line up is the same as on Garbarek second, much better known album (and his debut on ECM), but the music sounds different. Rhythm section is more conservative there and rarely leaves post-bop tradition, but Garbarek's tenor sax and partially Rypdal's electric guitar make some trips to fusion and avant-garde zones. As a result, album in whole sounds slightly unfocused, but raw,dirty and even explosive in moments (what is impossible for any Garbarek's recorded on ECM music).

Some compositions have strong emotional vibes, nice tunes, and Coltrane's influences are obvious there.At the same time, Jon Christensen and Terje Rypdal bring some heavier and rockier elements, from jazz-rock to rock jamming. Eclectic and quite unusual musical mix for Garbarek's album, isn't it?

Rare and interesting release illustrating Garbarek's (and Rypdal's) early musical influences,inspired and innovative as few first Garbarek's ECM albums are.