JAN GARBAREK - BOBO STENSON QUARTET - Witchi-Tai-To
ECM 674 3111
Jan Garbarek (soprano & tenor saxophones); Bobo Stenson (piano); Palle Danielsson (double bass); Jon Christensen (drums)
Recorded November 1973
This was a hugely creative time for Garbarek, and his association with Bobo Stenson should not be underestimated. This particular quartet released two studio albums, the other being Dansere that followed on a year later, and the same time Garbarek was also a member of Keith Jarrett's European Quartet, or the Belonging band as they became known. This is perhaps, with hindsight, the period of time when the saxophonist was finding his own context in which he could work best, and for the next next two decades or so much of the recorded output under his own name was made with a quartet, often alternating harmony roles between guitar and piano.
It was at this time, it can be said that Garbarek had truly found his sound, and spent time perfecting it. He had ditched the bass saxophone that he had also been featured on, and his flute playing would become more and more sporadic as time went on. For now he would focus on tenor saxophone, and unusually among saxophonists, a curved soprano saxophone. If up until now, there had been a criticism form many that his playing could often be cold like the wind blowing across the icy fjords, Garbarek would dispel that notion with his fiery playing with the quartet that would show another side to his playing that was steeped in jazz yet not wholly shaped by it, thus revealing an important voice that would go on to explore new musical settings in the years to follow.
The material on the album is from a number of different composers from Carla Bley, Carlos Puebla, Jim Pepper and Don Cherry and surprisingly neither Garbarek or Stenson offer up any compositions of their own. However, the chosen repertoire presents much of interest, and indeed some of the tunes would remain a staple in the saxophonist's concert performance for many years. Presented here for the first time, Carla Bley's 'A.I.R.' (standing for All India Radio) finds Garbarek in declamatory mood. The keening soprano sound with taut embouchure that is so familiar is allowed to roam and explore the full range of the horn in a solo that is full of twists and turns, with Stenson hot in pursuit maintain the impetus with a driving motif that then transforms into a dynamically flowing solo. The title track, again finds the pianist in lyrical mode for his solo, and also at one in his role as accompanist or more often that not a colourist shading and complimenting the saxophonist in a way that very few have managed before or since.
The most striking track, however is Don Cherry's 'Desireless'. Right from the off, with Stenson's ethereal and brooding piano introduction that is the basis upon which the first half of the piece is based is quite a departure from anything else that the quartet would record. From this ruminative opening from the quartet with Danielsson's arco bass and shimmering drums and percussion from Christensen, bass and piano then start to lay down and rhythmic groove that gradually intensifies through Stenson's solo that becomes more insistent as it develops. The pianist continues his solo, distancing himself from the ongoing rhythmic foundation that is laid down by the bass and the link between the two is forged by Christensen's ever more propulsive playing, with the tension only being relieved by Garbarek's entry on tenor. This relief is short lived as the saxophonist then delivers a solo that is full of passion and hard driven. He uses his magnificent full sound on the larger horn, maximising the dramatic use of upper and lower registers of the horn in a solo that is so unlike him, yet paradoxically could not be confused with anyone else. It is then only right that Danielsson's solo aided by Christensen should then bring down the unbelievable pent up pressure before the saxophone and piano rejoin to end this remarkable performance.
An impressive and significant album in the discographies of both Garbarek and Stenson, that says much not only about European and Scandinavian jazz at the time, but also provides a fascinating discourse on the development of both musicians in the years that followed.
ECM 674 3111
Jan Garbarek (soprano & tenor saxophones); Bobo Stenson (piano); Palle Danielsson (double bass); Jon Christensen (drums)
Recorded November 1973
This was a hugely creative time for Garbarek, and his association with Bobo Stenson should not be underestimated. This particular quartet released two studio albums, the other being Dansere that followed on a year later, and the same time Garbarek was also a member of Keith Jarrett's European Quartet, or the Belonging band as they became known. This is perhaps, with hindsight, the period of time when the saxophonist was finding his own context in which he could work best, and for the next next two decades or so much of the recorded output under his own name was made with a quartet, often alternating harmony roles between guitar and piano.
It was at this time, it can be said that Garbarek had truly found his sound, and spent time perfecting it. He had ditched the bass saxophone that he had also been featured on, and his flute playing would become more and more sporadic as time went on. For now he would focus on tenor saxophone, and unusually among saxophonists, a curved soprano saxophone. If up until now, there had been a criticism form many that his playing could often be cold like the wind blowing across the icy fjords, Garbarek would dispel that notion with his fiery playing with the quartet that would show another side to his playing that was steeped in jazz yet not wholly shaped by it, thus revealing an important voice that would go on to explore new musical settings in the years to follow.
The material on the album is from a number of different composers from Carla Bley, Carlos Puebla, Jim Pepper and Don Cherry and surprisingly neither Garbarek or Stenson offer up any compositions of their own. However, the chosen repertoire presents much of interest, and indeed some of the tunes would remain a staple in the saxophonist's concert performance for many years. Presented here for the first time, Carla Bley's 'A.I.R.' (standing for All India Radio) finds Garbarek in declamatory mood. The keening soprano sound with taut embouchure that is so familiar is allowed to roam and explore the full range of the horn in a solo that is full of twists and turns, with Stenson hot in pursuit maintain the impetus with a driving motif that then transforms into a dynamically flowing solo. The title track, again finds the pianist in lyrical mode for his solo, and also at one in his role as accompanist or more often that not a colourist shading and complimenting the saxophonist in a way that very few have managed before or since.
The most striking track, however is Don Cherry's 'Desireless'. Right from the off, with Stenson's ethereal and brooding piano introduction that is the basis upon which the first half of the piece is based is quite a departure from anything else that the quartet would record. From this ruminative opening from the quartet with Danielsson's arco bass and shimmering drums and percussion from Christensen, bass and piano then start to lay down and rhythmic groove that gradually intensifies through Stenson's solo that becomes more insistent as it develops. The pianist continues his solo, distancing himself from the ongoing rhythmic foundation that is laid down by the bass and the link between the two is forged by Christensen's ever more propulsive playing, with the tension only being relieved by Garbarek's entry on tenor. This relief is short lived as the saxophonist then delivers a solo that is full of passion and hard driven. He uses his magnificent full sound on the larger horn, maximising the dramatic use of upper and lower registers of the horn in a solo that is so unlike him, yet paradoxically could not be confused with anyone else. It is then only right that Danielsson's solo aided by Christensen should then bring down the unbelievable pent up pressure before the saxophone and piano rejoin to end this remarkable performance.
An impressive and significant album in the discographies of both Garbarek and Stenson, that says much not only about European and Scandinavian jazz at the time, but also provides a fascinating discourse on the development of both musicians in the years that followed.
