JAN GARBAREK QUARTET + BOBO STENSON – Sart (LP-1971)

Label: ECM Records – ECM 1015 ST

Format: Vinyl, LP, Album / Country: Germany / Released: 1971

Style: Free Jazz

Recorded on April 14 and 15, 1971, at the Arne Bendiksen Studio, Oslo.

Design [Cover Design] – B. & B. Wojirsch

Engineer – Jan-Erik Kongshaug

Photography By [Back Cover] – Björn A. Fossum

Producer – Manfred Eicher

A1 - Sart .......................................................................... 14:54

A2 - Fountain Of Tears - Part I and II ............................... 6:02

B1 - Song Of Space .......................................................... 9:38

B2 - Close Enough For Jazz ............................................. 1:57

B3 - Irr ............................................................................... 7:14

B4 - Lontano ..................................................................... 2:10

Jan Garbarek – tenor saxophone, bass saxophone

Terje Rypdal – guitar

Bobo Stenson – piano, electric piano

Arild Andersen – double bass

Jon Christensen – drums, percussion

Comparing with previous album "Afric Pepperbird", "Sart" is not so explosive and sharp, but more mature.

Garbarek's second album for ECM found him conducting further explorations in two separate directions. On the one hand, his playing and, to some extent, his composing were becoming increasingly avant-garde, a path which would culminate in the ensuing Tryptikon disc. His stark cries clearly owed something to the then burgeoning AACM movement as well as to European musicians like Peter Brotzmann. At the same time, pieces like the title track here nodded toward the contemporary jazz-rock experiments of Miles Davis. "Sart"'s descending five-note theme and the space it leaves in its wake are reminiscent of one of Davis' approaches on records like Bitches Brew. Garbarek utilizes this structure to good dramatic effect, generating mini-climax after mini-climax, only to recede at the end. This was also the first collaboration with pianist Bobo Stenson who would become a regular associate of Garbarek's in upcoming years. His presence fills out the group sound quite nicely and serves as an agreeable counterpoint to Rypdal's playing, which, at this point, was still experimental and imaginative. Rypdal's atmospheric "Lontano," which closes the album, is a fine, brooding piece and one of the disc's highlights. A strong recording and, along with all of the other early ECM Garbarek releases, recommended for fans who came upon him much later in his career.

If you find it, buy this album!

JAN GARBAREK with TERJE RYPDAL – Esoteric Circle (LP-1969-76)

Label: Intercord – INT 147.300, Freedom – INT 147.300

First released on US-label Flying Dutchman 1969, under George Russell Presents...

Format: Vinyl, LP, Album; Country: W. Germany - Released: 1976

Style: Free Jazz, Contemporary Jazz

Recorded in Oslo, Norway in 1969.

Art Direction – Bob Heimall

Artwork [Cover Art] – Benno Friedman

Coordinator [U.s. Production] – Micahel Cuscuna, Steve Backer

Design – Nancy Greenberg

Engineer – Bjornar Andresen

Producer – George Russell

A1 - Traneflight . . . . . . .  2:53

A2 - Rabalder . . . . . . . .   8:16

A3 - Esoteric Circle . . . . . 5:23

A4 - Vips . . . . . . . . . . . . . 5:40

B1 - SAS 644 . . . . . . . . .  7:47

B2 - Nefertite . . . . . . . . .  2:03

B3 - Gee . . . . . . . . . . . . . 1:09

B4 - Karin's Mode . . . . . . 7:32

B5 - Breeze Ending . . . . . 3:39

Jan Garbarek – tenor saxophone, composed

Terje Rypdal – guitar

Arild Andersen – bass

Jon Christensen – drums, percussion

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.

_ Review by Brian Olewnick

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.

_ Review by snobb

If you find it, buy this album!

JAN GARBAREK QUARTET – Afric Pepperbird (LP-1970)

Label: ECM Records – ECM 1007

Format: Vinyl, LP, Album; Country: W. Germany - Released: 1970

Style: Free Jazz, Contemporary Jazz

Recorded on September 22 and 23, 1970 at the Bendiksen Studio, Oslo.

Design [Cover Design] – B & B Wojirsch

Engineer – Jan Erik Kongshaug

Photography By – Terje Engh

Producer – Manfred Eicher

A1 – Scarabée (Jan Garbarek) . . . 6:15

A2 - Mah-Jong (Arild Andersen) . . . 1:50

A3 - Beast Of Kommodo (Jan Garbarek) . . . 12:30

B1 - Blow Away Zone (Jan Garbarek) . . . 8:35

B2 – MYB (Arild Andersen) . . . 1:50

B3 – Concentus (Arild Andersen) . . . 0:47

B4 - Afric Pepperbird (Jan Garbarek) . . . 8:00

B5 – Blupp (Jon Christensen) . . . 1:05

Jan Garbarek – tenor saxophone, bass saxophone, clarinet, flute, percussion

Terje Rypdal – guitar, bugle

Arild Andersen – bass, kalimba [african thumb piano], xylophone

Jon Christensen – drums, percussion

Great 1970 Jan Garbarek LP. One of the first ECM releases.

This is the first Jan Garbarek album for ECM Records. So who better to have with him then guitarist Terje Rypdal. Great to see Jan and Terje at such a young age in the picture provided in the liner notes too. So we get that typical ECM atmosphere in this release but man these young guys hold nothing back at times. I'm so impressed with this album. It's very interesting, challenging and it holds my attention all the way through.

"Skarabee" is different with the xylophone, percussion and Thumb piano all coming and going. Drums and sax also contribute to this laid back tune. Very intricate. Flute 5 minutes in. "Mah-Jong" is a short tune that features bass and cymbals as some sparse guitar and drums join in. "Beast Of Kommodo" is a beast indeed. Bass and cymbals again to start as the sax comes in. Great sound when the drums become more prominant.The sax is killer. It settles some before 6 minutes then the guitar arrives after 7 minutes in place of the sax. Incredible sound ! Xylophone after 11 minutes then silence. Sax changes that though.

"Blow Away Zone" opens with percussion. It's experimental sounding as these strange sounds come and go. Bass 2 minutes in then some dissonant sax 2 1/2 minutes in. It's more intense 4 minutes in. Check out the sax before 6 minutes as Jan goes solo. Drums are back before 6 1/2 minutes as sax blasts away. Insane ! "MYB" opens with bass as drums shuffle. Sax before a minute. "Concentus" is a short tune that features flute and clarinet. "Afric Pepperbird" is uptempo with deliberate drumming and horns. It settles before a minute to a more laid back sound. Almost spacey guitar from Rypdal here with bass and light drums.This is so good. The sax after 2 minutes is relaxed at first then he rips it up after 4 minutes. Bass sax after 5 1/2 minutes and the guitar joins in too. Nice. My favourite track. "Blupp" has these percussion sounds that come and go and someone saying "blupp" in between. It's pretty funny.

_ Review by Mellotron Storm

Precise,cool and robust free-jazz based, sound is clear and airy and this album is often mentioned as what later will be known as "ECM sound" standard. Andersen/Christensen rhythm section builds perfect structure of all compositions, framed but with huge space inside for Garbarek sax and Rypdal guitar's improvs. With its roots in post- bop, album's music is excellent example of progressive and innovative sound which is fresh and experimental, but not noisy or destructive at the same time.

One of the best (if not just The Best) Garbarek's solo album and excellent Nordic avant-garde jazz release, influenced European and world jazz evolution process for years ahead.

Together with Sart, Tryptikon, and Witchi-Tai-To (as well as a prior recording on Flying Dutchman "Esoteric Circle"), this album represents the strongest, most aggressive portion of Garbarek's career.

Very highly recommended.

If you find it, buy this album!