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Jan Garbarek 75 år!


Fredag 4. mars fyller Jan Garbarek 75år!

Dette feirer vi stort! Sammen med hans plateselskap, ECM, kan vi tilby 30% rabatt på et stort antall av Garbareks mest kjente album. Feiringen vil pågå gjennom hele våren, og kampanjen varer ut mai.

Gratulerer med dagen, Jan!
Viser 30 varer
Image Sleeper (2CD)
5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET

4 AV 5 MÖJLIGA I BETYG I SYDSVENSKAN

"Keith Jarretts "europeiska kvartett", med saxofonisten Jan Garbarek, basisten Palle Danielsson och slagverkaren Jon Christensen, var varken särskilt långlivad (några år på 70-talet) eller produktiv (fyra album). Ändå har den en framskjuten plats i jazzhistorien. Sleeper är en outgiven liveinspelning från Japan, april 1979, och kommer från samma tid som de två andra livealbumen i kvartettens diskografi. Inget nytt under solen alltså, men det är svårt att klaga då musiken är så knäckande bra. Samtliga spelar på toppen av sin förmåga, utan att någonsin förfalla till uppvisningskonster."
(Svenska Dagbladet)

"På de senaste 40 åren har knappast något europeiskt jazzalbum fängslat och inspirerat så många musiker och lyssnare som den här kvartettens. Endast fyra skivor kom på 1970- och 80-talet, så denna dubbel är direkt en dyrgrip. "Sleeper" spelades in -79 i Tokyo, under samma turné som de två äldre livealbumen. Fyra låtar är desamma som på "Nude Ants" och även om intensiteten ligger lite högre där, så står sig "Sleeper" väl och det är spännande och givande att jämföra. Detta var inte gänget som upprepade sig så gärna. Jazz med extra allt - fantastiska melodier, besjälat samspel, en rytmisk vitalitet som fick musiken att dansa och en alldeles egen gruppklang. "Innocence" görs lika öm och kärleksfull som "Personal Mountains" är ostoppbart pulserande."
(Sydsvenskan)

Keith Jarrett: piano, percussion; Jan Garbarek: tenor and soprano saxophones, flute, percussion; Palle Danielsson: double-bass; Jon Christensen: drums, percussion

ECM is particularly pleased to present this two-disc set by one of the most outstanding groups of its era, the group often referred to as 'Belonging' or Keith Jarrett's 'European Quartet', heard here in a previously unreleased concert recording from 1979. After more than three decades in the archive, this "sleeper" now awakes, sounding thoroughly alive and of the moment.

"Sleeper" is a significant addition to the group's small discography, until now comprised of the albums "Belonging" (1974), "My Song" (recorded 1977, released 1978), "Nude Ants" (recorded 1979), and "Personal Mountains" (1979, released 1989). The pieces performed by the quartet on April 16, 1979, at Tokyo's Nakano Sun Plaza were Jarrett compositions - "Personal Mountains", "Innocence", "So Tender", "Oasis", "Chant of the Soil", "Prism" and "New Dance" - all written for this ensemble (in later years, "Prism" and "So Tender" would be reinterpreted by the "Standards" trio), all delivered with enormous verve. This was a group that could play very freely, and joyously, inside the melodic and rhythmic structures set up or implied by Keith Jarrett's writing, with an extraordinary and unforced sense of flow. As Jarrett said at the time: "I myself, as a so-called leader, wish very, very often to blend with the other three musicians and that situation [the Belonging band] allows that, because no one is fighting with anyone else. Everyone is just trying to make the thing transparent and clear and feeling good."

kr 209 (kr 299)
Image Officium Novum
OPUS REKOMMENDERAR

EN AV ÅRETS SKIVOR 2010 ENLIGT MAGNUS ERIKSSON PÅ ROOTSY.NU

5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET

"Charlie Parker uttryckte inte sitt liv i sin musik, han utvecklade medvetet det musikaliska formspråket, både under intryck av afrikansk-amerikanska traditioner och den europeiska konstmusikens modernism. På liknande sätt var frijazzens formupplösning på 1960-talet för många musiker andligt motiverad. De sökte en tillvarons urgrund med sin musik. De borrade sig genom alla tillfälliga bestämningar som melodi och harmonik för att i musiken gestalta mötet med det gudomliga. Det är i det sammanhanget vi ska se saxofonisten Jan Garbareks och The Hilliard Ensembles samarbete. De har givit ut två skivor tidigare, och nu kommer Officium novum. I musiken möts liturgi och improvisation. Östkyrkans musik dominerar den komponerade delen, men Garbarek och The Hilliard Ensemble söker sig bortom de givna lösningarna. De tolkar stycken av den armeniske kompositören Komitas Vardapet men integrerar också stycken från den ryska kyrkans gammeltroende, en grupp som motsatte sig 1600-talets förnyelse av liturgin och flydde till Moldavien. Dessutom tolkar Garbarek och sångkvartetten modernare musik och tonsatta dikter från skilda miljöer, däribland ett poem som speglar ursprungsamerikanernas visionssökande. De strama sångarrangemangen ger musiken dess grundläggande karaktär. I det första stycket, av Komitas, svävar Garbarek i ett serent solo med vackert uthållna toner som understryker styckets högstämda bild av Kristi dop. Tonen är klar, och den vilar i utsökt balans mot sången eller i skör samklang med den. Men Jan Garbarek intensifierar också uttrycket. Han spetsar till sin ton, gör den brutalt uppriktig och skickar iväg studsande hardbopfraser och helt fria improvisationer. Men denna ögonblickets förfulning speglar musikens andliga karaktär. Ty skönheten, anden, segrar i Garbareks och Hilliardkvartettens förinnerligade musik. Så ingår liturgin en organisk förening med jazzens improvisationstänkande.
(Svenska Dagbladet)

Jan Garbarek, tenor and soprano saxophones

The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor;
Steven Harrold, tenor
Gordon Jones, baritone

The inspired bringing together of Jan Garbarek and the Hilliard Ensemble has resulted in consistently inventive music making since 1993. It was the groundbreaking "Officium" album, with Garbarek's saxophone as a free-ranging 'fifth voice' with the Ensemble, which gave the first indications of the musical scope and emotional power of this combination. "Mnemosyne", 1998's double album, took the story further, expanding the repertoire beyond 'early music' to embrace works both ancient and modern.

Now, after another decade of shared experiences, comes a third album from Garbarek/Hilliard, recorded, like its distinguished predecessors, in the Austrian monastery of St Gerold, with Manfred Eicher producing. Aptly titled, there is continuity in the music of "Officium Novum" and also some new departures. In 'Occident/Orient' spirit the album looks eastward, with Armenia as its vantage point and with the compositions and adaptations of Komitas as a central focus. The Hilliards have studied Komitas's pieces, which draw upon both medieval sacred music and the bardic tradition of the Caucasus in the course of their visits to Armenia, and the modes of the music encourage some of Garbarek's most impassioned playing. Works from many sources are drawn together as the musicians embark on their travels through time and over many lands. "Officium Novum" journeys from Yerevan to Byzantium, to Russia, France and Spain and concludes with a musical setting of a Native American text: all voyages embraced by the album's dramaturgical flow, as the individual works are situated in a larger 'compositional' frame.

"Hays hark nviranats ukhti" and "Surb, surb" are part of the Divine Liturgy of the Holy Mass which Komitas Vardapet (1869-1935) arranged on different occasions and for different formations. The versions here derive from those made for male voices in Constantinople in 1914/1915. "Hays hark nviranats ukhti" is a hymn traditionally sung at the beginning of the mass while the priest spreads incense. "Surb, surb" (Holy, holy) corresponds to "Sanctus" in the Latin Mass.

"Ov zarmanali" is a hymn of the Baptism of Christ (Sunday after Epiphany), sung during the ceremony of blessing the water, and "Sirt im sasani" a hymn of "Votnlva" (the bathing-of-the-feet ceremony celebrated on Maundy Thursday).These Komitas pieces are from the period 1910 to 1915, but their roots reach back to antiquity. Ethnomusicologist as well as forward-looking composer-philosopher, Komitas not only showed how Armenian sacred music had developed from folk music, but used folk styles expressively, to make new art music for his era.

kr 132 (kr 189)
Image Officium
Jan Garbarek, soprano, tenor saxophones

The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor
John Potter, tenor
Gordon Jones, baritone

Recorded September 1993


kr 132 (kr 189)
Image Places
Jan Garbarek, saxophones
Bill Connors, guitar
John Taylor, organ, piano
Jack DeJohnette, drums

Recorded December 1977


kr 132 (kr 189)
Image Afric Pepperbird
Jan Garbarek, tenor and bass saxophones, clarinet, flutes, percussion
Terje Rypdal, guitar, bugle
Arild Andersen, bass, african thumb piano, xylophone
Jon Christensen, percussion

Recorded September 1970


kr 132 (kr 189)
Image My Song
Keith Jarrett, piano, percussion
Jan Garbarek, tenor and soprano saxophones
Palle Danielsson, bass
Jon Christensen, drums

Recorded November 1977

kr 132 (kr 189)
Image Neighbourhood
Jahrespreis der deutschen Schallplattenkritik
Preis der deutschen Schallplattenkritik, Bestenliste 4/2005
BBC Music Magazine, Jazz Choice
Jazz FM, Album of the month
Jazz Magazine, Disque d'émoi de l'année
Jazz Magazine, Disque d'émoi
Musica Jazz, Disco del mese


"Manu Katché, who leads this relaxed supersession featuring trumpeter Tomasz Stanko and saxophonist Jan Garbarek, is the kind of drummer who can't not groove. On Neighbourhood he adds propulsion to the kind of chamber jazz that too often floats in a musical soup of formless percussion. He makes a beautiful sound on his kit, too, and meshes nicely with pianist Marcin Wasilewski and double bassist Slawomir Kurkiewicz on the opening track. ... Neighbourhood is a thoughtful, feelgood jazz album that harks back to the traditions of modern jazz while remaining contemporary - thanks to Katché's inventive drumming."
(The Guardian)

Jan Garbarek, saxophones
Tomasz Stanko, trumpet
Marcin Wasilewski, piano
Slawomir Kurkiewicz, double-bass
Manu Katché, drums, percussion

Recorded March and November 2004


kr 132 (kr 189)
Image In Praise of Dreams
Grammy Nomination 2005
Songlines, Top of the world
Stereoplay, CD des Monats
Audio, Jazz-CD des Monats
Consigliato da Musica Jazz


"From the very first track ... the saxophonist serves notice that this is going to be a very different album to anything he has done before. The haunting electronically generated sounds seem to hang in the air like an early morning mist and are penetrated, like the early morning sun, by the sharp, almost crystalline definition of Garbarek's saxophone, and, on subsequent tracks by Kashkashian on viola. The multiplicities of meaning conjured between them on pieces like "Knot in Time And place" or "Scene from Afar" take this album to a place where no Garbarek album has gone before. ... A major statement, possibly among his finest, by a major artist."
(Jazzwise)

"In Praise of Dreams" - Jan Garbarek's first new album in six years - features two musicians with whom the great Norwegian saxophonist shares some history - American-Armenian violist Kim Kashkashian and African-French drummer Manu Katché. Garbarek, Kashkashian and Katché span a lot of idioms between them, but the music sings with a focussed sense of purpose, in the context that Jan has shaped for it. If dreams are movies for the mind, the album is aptly titled - its atmospheres are evocative and decidedly 'filmic'.

Jan Garbarek, tenor saxophone, soprano saxophone, synthesizers, samplers, percussion
Kim Kashkashian, viola
Manu Katché, drums

Recorded March and June 2003


kr 132 (kr 189)
Image I Took Up The Runes
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kr 90 (kr 129)
Image 3CD-BOX: Dansere
Disc One:
Jan Garbarek: tenor and bass saxophones, flute; Bobo Stenson: piano, electric piano; Terje Rypdal: guitar; Arild Andersen: double-bass; Jon Christensen: percussion.

Discs Two and Three:
Jan Garbarek: tenor and soprano saxophones; Bobo Stenson: piano; Palle Danielsson: double-bass; Jon Christensen: drums

The "Dansere" box brings together all of Jan Garbarek's ECM collaborations with pianist Bobo Stenson and marks a welcome return to the catalogue for three much-loved albums: - "Sart" (recorded 1971), "Witchi-Tai To" (1973) and "Dansere" (1975) - all of which have been out of print in recent years. As Michael Tucker remarks in the liner notes to the set , these are recordings which "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, the classic Garbarek-Rypdal-Andersen-Christensen group augmented by Bobo Stenson on the exploratory "Sart", and the spirited Jan Garbarek-Bobo Stenson Quartet, one of the most exciting groups of the era, on "Witchi-Tai-To" and "Dansere". The birth of the latter group was very spontaneous - the "Witchi-Tai-To"session was originally projected as a Stenson date, with just Palle Danielsson and Christensen, but after Jan Garbarek had guested with Bobo's trio at the 1973 Jazz Jamboree in Warsaw, the Swedish pianist proposed the quartet format instead. On "Witchi-To To" (disc 2 here) the repertoire largely reflects Stenson's enthusiasms, with the title composition written by Jim Pepper, Carla Bley's "A.I.R" (from "Escalator Over The Hill") as album opener, and a 20-minute account of Don Cherry's "Desireless" as the highpoint (Stenson was still playing often with Cherry in this period). Garbarek responds splendidly to the challenges of the material, a tour-de-force of post-free and modal jazz possibilities.

kr 209 (kr 299)
Image Belonging
Keith Jarrett, piano
Jan Garbarek, tenor and soprano saxophones
Palle Danielsson, bass
Jon Christensen, drums

Recorded April 1974

kr 132 (kr 189)
Image Ragas and Sagas
Ustad Fateh Ali Khan, voice
Jan Garbarek, soprano and tenor saxophones
Ustad Shaukat Hussain, tabla
Ustad Nazim Ali Khan, sarangi
Deepika Thathaal, voice
Manu Katché, drums

Recorded May 1990


kr 132 (kr 189)
Image Remember me, my dear
25 years on from the release of Officium, the groundbreaking alliance of Jan Garbarek and The Hilliard Ensemble, comes Remember me, my dear, recorded during the final tour the group made in October 2014. The program is emblematic of the range of repertoire the Norwegian saxophonist and British vocal quartet explored together– from Pérotin, Hildegard von Bingen, Guillaume le Rouge, Antoine Brumel to Komitas , Arvo Pärt and more. It could be said that the Hilliard/Garbarek combination, in concert, transcended its source materials, with early music, contemporary composition and improvisation interfused in the responsive acoustics of sacred spaces. And this final album reminds us that the unique Garbarek/Hilliard combination, and its unprecedented exploration of sound, was consistently breathtaking.

kr 132 (kr 189)
Image Rites (2 CD)
Jan Garbarek's powerful new double-album is a magnum opus, and well-titled. "Rites" suggests initiations, rituals, the archaic, the magical, but also "rites of passage", and the Norwegian saxophonist reflects, in his choice of material, upon pivotal episodes and influences in his own life and those of his associates. Pieces include a tribute to Don Cherry and reworkings of the Garbarek classics "It's OK to listen to the gray voice" and "So mild the wind, so meek the water". There are abundant references to scattered musics of the world, from Norway to India, as well as a setting - for voices and saxophone - of a Native American poem, and the surprise inclusion of Jansug Kakhidze's "The moon over Mtatsminda", sung by its composer with the Tbilisi Symphony Orchestra. In total, this is the most comprehensive recording Jan Garbarek has made to date, and his subtle saxophone artistry has never been more persuasive.


Jan Garbarek, soprano and tenor saxophones, synthesizers, samplers and percussion
Rainer Brüninghaus, piano, keyboard
Eberhard Weber, bass
Marilyn Mazur, drums, percussion
Jansug Kakhidze, singer and conductor
Tbilisi Symphony Orchestra
Bugge Wesseltoft, additional synthesizer and electronic effects, accordion

Recorded March 1998


kr 209 (kr 299)
Image Luminessence
Jan Garbarek, tenor and soprano saxophones
Strings of Radio Symphony Orchestra Stuttgart/Mladen Gutesha

Recorded April 1974

kr 132 (kr 189)
Image Dis
Jan Garbarek, tenor and soprano saxophones, wood flute
Ralph Towner, 12-string and classical guitars, windharp
Brass Ensemble

Recorded December 1976


kr 132 (kr 189)
Image Eventyr
Jan Garbarek, tenor and soprano saxophones, flutes
John Abercrombie, guitars
Nana Vasconcelos, berimbau, percussion, voice

Recorded December 1980


kr 132 (kr 189)
Image Paths, Prints
Jan Garbarek, tenor and soprano saxophones, wood flutes, percussion
Bill Frisell, guitar
Eberhard Weber, bass
Jon Christensen, drums, percussion

Recorded December 1981


kr 132 (kr 189)
Image Legend Of The Seven Dreams
Jan Garbarek, soprano and tenor saxophones, flute, percussion
Rainer Brüninghaus, keyboards
Nana Vasconcelos percussion, voice
Eberhard Weber, bass

Recorded July 1988


kr 132 (kr 189)
Image Twelve Moons
Jan Garbarek, soprano and tenor saxophones, keyboards
Rainer Brüninghaus, keyboards
Eberhard Weber, bass
Manu Katché, drums
Marilyn Mazur, percussion
Agnes Buen Garnås, vocal
Mari Boine, vocal

Recorded September 1992


kr 132 (kr 189)
Image Madar
Jan Garbarek, tenor and soprano saxophones
Anouar Brahem, oud
Ustad Shaukat Hussain, tabla

Recorded August 1992


kr 132 (kr 189)
Image Visible World
Ten of the pieces here had their genesis in music written originally for film and ballet. Melodic motifs drawn from this incidental music have been thoroughly transformed and developed in the process of the recording, but the fact remains that the melodies were shaped, in the first place, to accompany specific scenes. The album's impact, in its entirety, however, derives from the way in which these scenes and motifs are combined and ordered; it is the dramaturgy that permits the listener to fly over these audible manifestations of the visible world. Down the years, many listeners have attested to the images Garbarek's music paints in their minds, even when the saxophonist himself has been more concerned - like most musicians - with the practicalities of playing, with his tone, sound and phrasing. This time, he allows, imagery has been a direct spur to the writing of the material. "I don't expect my imagery to correspond in every detail to the listener's," Garbarek says. "I can only propose an outline for the picture: it's up to each listener to complete it in his or her own way."

Jan Garbarek, soprano & tenor saxophone, keyboards, percussion
Rainer Brüninghaus, piano, synthesizer
Eberhard Weber, bass
Marilyn Mazur, percussion, drums
Manu Katché, drums
Trilok Gurtu, tabla
Mari Boine, vocals

Recorded June 1995


kr 132 (kr 189)
Image Red Lanta
The album title is anagram of Art Lande, the idiosyncratic US pianist making his ECM debut in a set of his own tunes, very ably partnered by Jan Garbarek on a recording described by Down Beat as “one of the finest albums ECM has yet released…It is the interplay of the two artists that elicits the full richness of the music. Lande and Garbarek have intelligently channelled their virtuosity, forging a uniquely inspired vision. The result is enthralling.” Recorded 1973.

kr 90 (kr 129)
Image Witchi-Tai-To
In the mid-1970s there was no European jazz group more popular than the Garbarek-Stenson Quartet, and Witchi-Tai-To was voted ‘Record of the Year 1974/75’ in Jazz Forum’s poll. Down Beat gave the album a five-star review: “Those who think that contemporary music from Europe lacks soul-fire are hereby advised to listen to Witchi-Tai-To.” Bobo Stenson: “The quartet had a chemistry that I’ve very rarely known, and I look back at the whole period as a happy and creative time.” The wide-open programme includes tunes by Carla Bley and Don Cherry as well as the title track composed by Jim Pepper.

kr 90 (kr 129)
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