Jan Garbarek / The Hilliard Ensemble - Officium (1994)

Been giving this a fresh appraisal, so why not turn it into a post.  In a quirk of tapping in to the listening moods of the time, Jan Garbarek spontaneously joining in at a Hilliards rehearsal turned into one of ECM's breakout hits with the buying public, so the story goes.  There were sequels, but this first collaborative album between the early music singers and saxophonist remains a very 90s phenomenon all of its own.  So how does it hold up these days?

Officium certainly sounds breathtaking.  You'd expect nothing less from an ECM New Series recording of the Hilliard Ensemble, taking advantage of the resonances of the St. Gerold priory in Grosses Walsertal, Austria.  Flitting in and out is the ahistorical, but somehow seeming like a natural added voice, sound of Garbarek's saxes, equally attuned to the natural reverb.  An hour-plus immersion in this sound-world is definitely a sublime experience.

In terms of material, the album flits through the Hilliards' repertoire from the 12th to 16th century, giving a nice balance of starker, plainer material (including the odd solo spotlight) with more complex and interweaved voicings.  Garbarek doesn't overpower the singers, but finds subtle harmonies and drones with which to enhance the music.  The end result might be an early vocal music purist's nightmare, but for anyone willing to take the chance on this hybrid, as soon as you acclimatise to it it's a delight.  The only thing I sometimes wonder is if 77 minutes is a bit too much of the same thing for a single sitting, but on those occasions the first reprise of Parce Mihi Domine is a handy staging post to focus on one half of a double-album.  Overall, beautiful stuff that still stands up.  Must get hold of the other albums someday.

link

pw: sgtg

Jan Garbarek at SGTG:

Electronic Sonata For Souls Loved By Nature

Othello Ballet Suite

Trip To Prillarguri

Listen To The Silence

Afric Pepperbird

Sart
Triptykon
Popofoni

Witchi-Tai-To

Dansere
Solstice: Sounds And Shadows
Sol De Meio Dia
Paths, Prints
Song For Everyone
Making Music

Neighbourhood

The Hilliard Ensemble at SGTG:

Perotin

The Lamentations Of Jeremiah

Codex Speciálník

Transeamus

George Russell - Listen To The Silence (rec. 1971, orig. rel. 1973)

Back to George Russell with another commissioned work, this time for the 1971 Kongsberg Jazz Festival, and recorded at its live premiere performance (with some studio effects added later) on 21st June 1971, Kongsberg Church, Norway.  Taking some lines from Rainer Maria Rilke, Maurice Nicoll, Dee Brown and snippets from Newsweek and the New York Times for its libretto, Listen To The Silence is a choral work calling for two choirs as well as jazz ensemble.  

 

The chanting voices get things underway before Russell, Garbarek & co enter to drive the music forward, and the work continues in this manner with the church acoustics giving the stentorian vocal delivery a definite atmospheric boost.  The instrumental sections are frequently more minimal and stripped-down compared to Russell's other work of the era, but this works in favour of the overall stark mood, and makes the Garbarek-Rypdal section at the start of Event IV all the more outstanding.  Subtitled "A Mass For Our Time", Listen To The Silence might be a bit 'of its time' in subject matter, but it remains a captivating listening experience to this day.

link

pw: sgtg

Previously posted at SGTG:

Electronic Sonata For Souls Loved By Nature

Trip To Prillarguri

Othello Ballet Suite

Vertical Event VI

George Russell Sextet feat. Jan Garbarek - Trip To Prillarguri (rec. 1970, rel. 1982)

More live recordings from George Russell and co taped at the Södertälje Estrad, this time back in March 1970 (although not released until 1982, when Soul Note took over their chunk of Russell's material).  This one's a belter - it may as well be Jan Garbarek's Esoteric Circle quartet from 1969 performing live with the addition of Russell on piano and Stanton Davis Jr on trumpet.  Three of the pieces here are Garbarek-penned, including two that appeared on the Esoteric Circle LP.  From Russell's catalogue we get themes from Souls Loved By Nature and the earlier classic Stratusphunk, plus a closing rendition of Ornette Coleman's Man On The Moon.  Electrifying stuff throughout, and a definite highlight in both Russell and Garbarek's discographies.

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pw: sgtg

Previously posted at SGTG:

Electronic Sonata For Souls Loved By Nature

Othello Ballet Suite

Vertical Event VI

George Russell - Othello Ballet Suite / Electronic Organ Sonata No.1 (1970)

Some more George Russell from his Scandinavian period, with Jan Garbarek making the album cover as featured soloist.  The "Othello Ballet Suite" was commissioned by Norwegian television, and this recording made by Radio Sweden in November 1967.  Othello offers just under half an hour of Russell's intricate 'vertical form' compositional style and funky arrangements.  It occasionally suggests a sort of long-form Mingus composition to my ears - complete with what sounds like little teases of Better Git It In Your Soul as a recurring theme.  All great players, including some nice skronky spots for Garbarek to cut loose, and Russell's sextet are backed by the Swedish Radio Symphony Orchestra.

The album, originally released in 1970 by Flying Dutchman, is filled out by a solo organ piece improvised by Russell on an Oslo church organ in October 1968.  This basic recording was then manipulated at the electronic music studio of Radio Sweden, giving it much more avant-garde textures and making for a fascinating closer on the album.

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pw: sgtg

Previously posted at SGTG: Electronic Sonata For Souls Loved By Nature

George Russell - Electronic Sonata For Souls Loved By Nature (three recordings)

Electronic Sonata For Souls Loved By Nature is the signature work by jazz composer, theorist and pianist George Russell (1923-2009), presented today in no less than three different recordings.  Got hold of these in a Black Saint/Soul Note reissues box, so more Russell to come.  First up, The Essence Of George Russell, which may or may not contain the earliest recording of the Sonata: it's unfortunately the only thing lacking a recording year in the original double LP's notes.

First a drummer, George Russell's key contribution to jazz was as a music theorist championing the Lydian mode, which influenced everyone from Miles Davis and Gil Evans to the young Scandinavian musicians he'd work with on moving there in the 60s, many of whom would become ECM heavyweights.  Listening back to Terje Rypdal's Odyssey box set after hearing Russell is quite enlightening, for example, and it's Rypdal who is the guitarist on the "Essence" recording of Electronic Sonata For Souls Loved By Nature, the lineup also including Jan Garbarek, Arild Andersen and Jon Christensen (you can probably guess by now what drew me to the Russell box).  On the original "Essence" double LP there were two additional pieces making up side four - only one of these, the enjoyably wild Now And Then (recorded 1966), is included on the CD due to time restrictions.

Electronic Sonata For Souls Loved By Nature, then, is structured in 14 segued 'Events': some where propulsive basslines and funky drums drive it forward, and others where the rhythms fall away and Stockhausen-like taped sounds come to the fore, as well as African field recordings.  The writing for horns can be both tight and melodic and much freer, particularly when Garbarek takes the spotlight (Jan's credited as having a hand in composing some themes, presumably these spotlights).  Taken all together, it's a rich and rewarding immersion in early fusion, avant-garde but accessible jazz composition and judicious electronic/tape music integration.

This next recording, originally released on the Flying Dutchman label in 1971, is perhaps the best known.  Soul Note's later reissue added the "1968" to the album cover - I'm not certain why, as Russell's original liner notes state the recording was made at a concert near Oslo in April 1969.  Perhaps "1968" refers to composer revisions that year, e.g. the reduction to sextet -  the larger group of musicians is slimmed down to just the core lineup, who are the same other than Red Mitchell now playing bass rather than Andersen.  This version also ups the tempo in places compared to the "Essence" recording, the whole thing running under an hour compared to just over the hour mark on Essence. 

Russell revisited the Sonata for this 1980 version, recorded in an Italian studio in June of that year with mostly American musicians.  It's recognisably the same work, two continuous sides with seven Events apiece, so hasn't undergone any major compositional reworking.  The turn-of-the-80s studio fidelity does make the ingenuity of the writing and musicians' interplay come across clearer, so it's a worthwhile contrast to the other two recordings.

 

19?? recording (The Essence Of George Russell)

1968 recording

1980 recording

pw for all: sgtg

Garbarek, Rypdal, Stenson, Andersen, Christensen - Sart (1971)

Some more Terje Rypdal today, alongside an all-star cast of ECM legends on one of the label's most memorable releases from its formative years.  Sart is often regarded as a Jan Garbarek album overall, and indeed this is Disc 1 of the Garbarek box set that also covers Witchi Tai To and Dansere (links below), but really everyone in this quintet deserves their equal billing as per the album cover.

Most of side one is taken up by the title track, with Rypdal wah-ing it into gear as a post-Bitches Brew fusion exploration.  Garbarek is in full-on overblown free jazz mode, but Bobo Stenson's calmer piano keeps the track partly rooted in earlier post-bop traditions.  Fountain Of Tears finds Rypdal in even more avant-garde mode, sliding right up the guitar bridge as Garbarek and Stenson get in more fractured soloing.  A mellow ending sees Garbarek switching to flute.

Side two is introduced with a piano solo, and Stenson continues to sound sublime as Rypdal and Garbarek kick Sound Of Space into gear, both turning in great solo spots.  For the remainder of the album, short composing/playing spotlights for Andersen and Rypdal bookend another great group performance.  Essential early ECM at its finest.

link

pw: sgtg

Jan Garbarek at SGTG:
Afric Pepperbird (with Rypdal, Andersen & Christensen)
Triptykon (with Andersen)
Popofoni (with Stenson, Rypdal, Andersen & Christensen)

Witchi-Tai-To (with Stenson & Christensen)

Dansere (with Stenson & Christensen)
Solstice: Sounds And Shadows (with Christensen)
Sol De Meio Dia
Paths, Prints (with Christensen)
Song For Everyone
Making Music

Neighbourhood

Jan Garbarek-Bobo Stenson Quartet - Dansere (1975)

More Garbarek-Stenson loveliness to go nicely with the turning of the seasons.  This follow-up to Witchi-Tai-To was notably different in composition - other than one arrangement of a Nordic folk tune, everything was written by Garbarek.  He regarded the 15 minute title track as "a breakthrough point for me, in trying to find the material I feel most at home with", and the album as a whole has the feeling of carving out his comfortable niche in European jazz, right down to all the track titles being in Norwegian.

After that opening trek across the rural open space evoked on the album cover, the rest of Dansere (in English, dancers) progresses in similar atmospheric form.  Svevende aptly conjures up its titular feeling over hovering above great fjords via Christensen's nimble drumming, as the winds blown by Garbarek turn to a full-on icy blast.  Bris (breeze) features the most energetic playing on the record, propelled by Stenson, then a short interlude Skirk & Hyl (cries and howls) is an aptly-described spotlight for Garbarek and Danielsson.  The record settles down again with a traditional shepherding ballad in Lokk, then Christensen heats up the groove just enough for Til Vennene (to friends) to end the album on a bit of indoor warmth.

 

link

pw: sgtg

Jan Garbarek at SGTG:
Afric Pepperbird
Triptykon
Popofoni (also includes Stenson & Christensen)

Witchi-Tai-To
Solstice: Sounds And Shadows
Sol De Meio Dia
Paths, Prints
Song For Everyone
Making Music

Neighbourhood

Jan Garbarek - Bobo Stenson Quartet - Witchi-Tai-To (1974)

Dug out this ECM classic for the first time in a long while following that post of Escalator Over The Hill a few weeks back.  Starting off with a lengthy exploration of A.I.R. from EOTH, this album saw Jan Garbarek's windswept, keening mature style begin to solidify in a half-Norwegian half-Swedish quartet.  Bobo Stenson on piano fully deserves his name's co-prominence in this group, with an early highlight being his spotlight performance on Kukka, the only tune written by a member of the quartet (Danielsson).

A firey take on Carlos Puebla's Hasta Siempre spices up the album with a propulsive performance by the late Jon Christensen, closing out the original first side in style.  Over on side two, both Garbarek and Stenson shine on the title track by Jim Pepper, then a full twenty minutes are given over to a group exploration of Don Cherry's Desireless.  A lengthy Stenson solo gives way to a full force gale of Garbarek, and so on.  One of the very best ECM releases from its mid-70s imperial heights.

link

pw: sgtg

Jan Garbarek at SGTG:
Afric Pepperbird
Triptykon
Popofoni (also includes Stenson & Christensen)
Solstice: Sounds And Shadows
Sol De Meio Dia
Paths, Prints
Song For Everyone
Making Music

Neighbourhood

Manu Katché - Neighbourhood (2005)

Active since the 80s as a high-profile session musician, French drummer Manu Katché had only released one other solo album prior to this beautifully relaxed ECM session.  He was no freshman to the label, having played with Jan Garbarek throughout the 90s, and it's Garbarek who is the main instrumental voice here, in fine form.  The rest of the lineup was Tomasz Stańko's "Polish Quartet" of the time - minus the drummer, of course.

The ten tracks here, all composed by Katché, only raise the temperature a few times - for the most part, Neighbourhood is a wonderful, laid-back immersion in pure group dynamics.  When the album does start to groove, it's with a taut, understated funkiness that makes Katché's deft touch endlessly enjoyable, as on Number One, Lovely Walk, No Rush and the catchy Take Off And Land.  The rest is pure heaven for a rainy afternoon and a beverage of choice.

 

link

pw: sgtg

Keith Jarrett - Jan Garbarek Quartet - Belonging (1974)

The 'European Quartet' in their first and most timeless outing, and another chance here to pay tribute to the late Jon Christensen.  Right from the pulsing opener Spiral Dance, Christensen displays just how much he deserved the gig of ECM's house drummer, and remains great throughout these six tracks, all composed by Jarrett.

Two lengthy ballads show off Jarrett and Garbarek in their prime, as do the gospel strut of Gaucho Long As You Know You're Living Yours and the nifty groove of The Windup.  A brief duet between them in the form of the title track completes a truly legendary ECM session.

There's also some classic TV footage of this band floating around YouTube - see below.

link
pw: sgtg

Keith Jarrett at SGTG:
Gary Burton & Keith Jarrett
Expectations
The Köln Concert
Hymns/Spheres
G. I. Gurdjieff: Sacred Hymns
Invocations/The Moth And The Flame
Concerts: Bregenz/München
Setting Standards: New York Sessions
Dark Intervals
Changeless
Tribute
Vienna Concert
At The Blue Note: Saturday, June 4th 1994, 1st Set
Tokyo '96
La Scala

Jan Garbarek at SGTG:
Afric Pepperbird
Triptykon
Popofoni
Solstice: Sounds And Shadows
Sol De Meio Dia
Paths, Prints
Song For Everyone
Making Music

Shankar, Garbarek, Hussain, Gurtu - Song For Everyone (1985)

As noted last week, Jan Garbarek and Zakir Hussain's first collaboration was back in September 1984 and the recording sessions for this album.  Song For Everyone was captained (and wholly written) by Tamil violinist Lakshminarayana Shankar, who was on his third outing with ECM (the first had featured Hussain, the second Garbarek).  Completing this lineup was percussionist Trilok Gurtu, who'd made appearances on the label back to the late 70s.

Album opener Paper Nut, which Garbarek would return to for several years afterwards, kicks into high gear with a flurry of Shankar's electrified strings and a drum machine backing.  The longest track, Watching You, is in a similar vein, with pieces based on more traditional percussion interspersed.  Garbarek is in fine form throughout, carrying a warm breeze through the lovely title track and proving an ideal melodic/harmonic sparring partner with Shankar elsewhere.  Drum machine tracks aside, the two percussionists are a wonderful base for a great album.

link
pw: sgtg

Zakir Hussain - Making Music (1987)

This post starts with a thankyou to commenter Doug who jogged my memory about this album, back when I posted the Hariprasad Chaurasia album.  Not sure why I'd let this gorgeous recording from December 1986 sit on the shelf for so long - perhaps it didn't catch my mood when I first picked it up.  In any case, here's one of the vast collection of ECM experiments when a handful of musicians came together and struck gold.

Indian percussionist Zakir Hussain had already worked with Jan Garbarek a couple of years prior to this session (that's coming next week), and Hussain and Chaurasia had also collaborated on more traditional Indian music.  Completing the lineup was John McLaughlin, playing understated acoustic guitar throughout.  After the lengthy title track introduces everyone, some tracks highlight the musicians in pairs or trios and Chaurasia's sublime flute sounds take a starring role almost everywhere they appear.  Garbarek gets a wonderful feature on Anisa, followed by a Hussain solo, and McLaughlin's fleet fingers are highlighted on the all too brief You And Me.  One of the most underrated ECM treasures, not least by me up until now.

link
pw: sgtg

Eberhard Weber - Yellow Fields (1976)

R.I.P. Jon Christensen, 20 March 1943 - 18 Feb 2020

Another sad farewell to an ECM jazz legend - Jon Christensen has died at the age of 76, after playing on hundreds of sessions for artists including Keith Jarrett, Jan Garbarek, Eberhard Weber, Ralph Towner, Terje Rypdal... the list goes on and on.  Here's a couple of albums in tribute, and a list of previous posts that featured Jon.

Christensen's tight, steady drumming was an important feature of Eberhard Weber's second album as band leader.  The September 1975 session that produced Yellow Fields also featured Rainer Bruninghaus on keyboards and Charlie Mariano on reeds, and saw Weber's music simplify a little from the almost progressive rock-like structures of his debut album.  What emerged was a smooth but propulsive jazz fusion with great expressive leads from Mariano, some timelessly cool grooves on the keys from Bruninghaus, and rock solid backing from Weber and Christensen.

link
pw: sgtg

Jan Garbarek - Paths, Prints (1982)

Jon Christensen had played with Jan Garbarek since the late 60s, and would continue working with him through the 90s.  He provided the perfect base for this keyboardless December 1981 date, again pairing up with Weber's instantly recognisable bass tone as Garbarek and Bill Frisell dripped across the sonic picture like rain on glass.  I tend to tread carefully into 80s Garbarek and beyond, but this album has aged well and is very much a piece with the classic ECM aesthetic.  Kite Dance and the closer Still are particularly lovely.

link
pw: sgtg

Previously posted at SGTG featuring Jon Christensen:
Afric Pepperbird (Garbarek/Rypdal/Andersen/Christensen)
Popofoni (Garbarek/Rypdal/Stenson/Andersen/Christensen etc)
Waves (Rypdal/Mikkelborg/Hovensjø/Christensen)
Solstice: Sound And Shadows (Towner/Garbarek/Weber/Christensen)
Bluish (Stańko/Andersen/Christensen)
The Sea (Bjørnstad/Rypdal/Darling/Christensen)

Egberto Gismonti - Sol De Meio Dia (1978)

Some classic ECM Gismonti in his second album for the label, to follow on from last Friday's post of Academia Da Danças.  Where that album was one of Gismonti's most sophisticated in its arrangements and production, Sol De Meio Dia (Midday Sun) is stripped down to the bare essentials, in keeping with his other ECM releases.  The two albums do, however, start with the same song.

The version of Palácio de Pinturas that opens Sol De Meio Dia is a sublime duet between Gismonti and Ralph Towner.  Towner's Oregon bandmate, and another ECM stalwart until his untimely death in 1984, Collin Walcott is up next, laying a bed of insistent tabla for Raga.  There's plenty of Nana Vasconcelos on board for this album too, until Gismonti takes a solo spotlight on piano for the utterly gorgeous Coração.

The second half of the album brings together four songs in the kind of suite typical of 70s Gismonti, and starts with one of his most enduring compositions, Café.  Later covered by Norma Winstone, here the melody line is taken by Jan Garbarek, foreshadowing the hugely successful Magico trio with Charlie Haden.  After no less than 12 minutes of this, and further sparring with Towner, the suite then furrows deeper into Gismonti's overall inspiration for Sol De Meio Dia: the time he'd spent with the peoples of the Xingu river region in the North of Brazil.  All in all, one of Gismonti's very best albums; can't recommend it enough.

link
pw: sgtg

Previously posted at SGTG: 
Academia Da Danças
Circense
Sanfona
Dança Dos Escravos
In Montreal (with Charlie Haden)

Various Artists (incl. Jan Garbarek Quartet) - Popofoni (1973)

Anyone watching the Åpen Post show on Norwegian TV on 6th March 1969 (which I doubt will include any readers here, but you never know -YouTube link, sorry no subtitles) would've caught a fascinating, bizarre debate about pop music/popular culture vs. classical music/high art.  The programme caught the attention of Arne Nordheim, previously featured on these pages here, and of the Ny Musikk organisation and the Henie-Onstad arts centre.

The plan was hatched (in an uncanny precedent for Ode To Marilyn) to get hold of some prime Nordic musicians - step forward Jan Garbarek, Bobo Stenson, Arild Andersen, Jon Christensen and Terje Rypdal - and have them collaborate with some of Norway's foremost modern composers to produce music that would represent a meeting point between popular music and the avant-garde.  Arne Nordheim, Alfred Janson, Gunnar Sønstevold, Kåre Kolberg and the soon-to-be ECM-ers, plus additional musicians, duly obliged, and a concert of the results was held in April 1970.  Three years later, this limited-edition double album emerged as a document of the project, which had been titled Popofoni.

The six tracks here are certainly fascinating, essential listening, especially if you're familiar with early ECM classics like Afric Pepperbird / Sart / Rypdal's debut.  Imagine these records with a whole extra layer of avant-garde composition/production over the top, and that's pretty much what Popofoni sounds like.

The 20-minute opener Arnold, composed by Gunnar Sønstevold, is a free jazz groove with echo-laden vocals wafting over the top, and occasional organ and tape effects.  Nordheim's two tracks that follow are even better works in the same vein, with the eerie collage of Solar Plexus (his first response to the TV debate) ending in a scratchy, sampled dance orchestra, a hail of gunfire then an emptying sink (or toilet?).  The second disc is dominated by Alfred Janson's 25-minute Valse Triste, where the jazz musicians veer between free playing and lounge pastiche, feeling their way towards the eventual schlager payoff, whilst spoken samples of the TV debate pepper the sonic landscape.  Kåre Kolberg's Blow Up Your Dreams is a more succinct attempt at stretching a conventional song (sung by Karin Krog) to fit an avant-garde frame, and as a closer we get a brief Rypdal composition in which he plays flute rather than guitar.  An utterly essential collection.

Original double-LP cover

Disc 1
Disc 2
pw: sgtg

Ralph Towner - Solstice: Sound And Shadows (1977)

The last two postings of ECM guitarists both went down well, so here's a third; a third American as well, in Washingtonian Ralph Towner.  Towner's trademark sound, based on chiming 12-string guitars and nylon-string guitars more classical in leaning than jazz, was always going to be a great fit when placed among one of ECM's Nordic crack teams.  So when he was matched up with Jan Garbarek, Eberhard Weber and Jon Christensen for 1975's Solstice, an instant classic was born, and this lesser-known sequel from two years later deserves equal appreciation.

Five fairly lengthy tracks here, giving each player a chance to shine and these rambling, autumnal pieces room to roam.  Distant Hills is the perfect opener, with soft-focus layers of Towner's guitars, stately Garbarek solos, and a subtle underpinning from Weber and Christensen.  For all his guitar genius, it shouldn't be forgotten how good a pianist Towner is as well, and Arion, a definite highlight for me, shows it beautifully.

link

Jan Garbarek w. Arild Andersen & Edward Vesala - Triptykon (1972)

This is probably my favourite Jan Garbarek album.  His playing style was becoming more distinctive with each release, coming well and truly out of the shadow of Albert Ayler, and he was still a couple of years away from starting to become Jan Garbarek™, ECM ice king extraordinnaire.  That said, there's already evidence of him starting to mellow, in the goregous Selje (a fjord region on the west coast of Norway) where he switches to flute, and the understated Sang.  For the vestiges of early, skroning Garbarek at his freest, head straight for the 12-minute title track.

It can't be stressed enough however that this isn't just Garbarek's album - what I love most about Triptykon is that I can sit down for a listen through this album and focus solely on Edward Vesala snaking his way around the kit like no other jazz drummer on earth.  Or indeed, spend the duration listening to Arild Andersen putting in a phenomenal rock-solid performance on bass, taking a great solo on the title track and a memorable switch to the bow in the closing track.  One my favourite expressions of the trio format in jazz, up there with Money Jungle; Triptykon is a true team effort.  Should further evidence be required, just check them out in a rare French TV recording (below).

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Previously posted at SGTG: Afric Pepperbird

Jan Garbarek Quartet - Afric Pepperbird (1970)

Another gem from my favourite jazz label, this time one of its earliest (only the seventh to be released), and for my money its first masterpiece. All four of these eventual ECM mainstays - Jan Garbarek, Terje Rypdal, Arild Andersen and Jon Christensen - make their debut appearance on the label here, recording a bracing but surprisingly accessible set of four lengthy pieces and four minatures.

Garbarek was still in thrall to Albert Ayler at this early stage in his career, and there's plenty of free jazz blowing around here. Scarabee, however, opens the album subtly with the beginnings of the tone that Garbarek would become known for, with just the occasional skronk, surrounded by twinkling percussion.  Eventually he lets rip, but the track as a whole still leaves lots of space, not least thanks to Christensen supplying a rock-solid foundation.  Beast of Kommodo, the album's longest track, shows off Garbarek's versatility as a reedsman, while Terje Rypdal sticks to one insistent riff until eventually getting an almost bluesy solo, in contrast to his later, more identifiable style.

On Side 2, both Blow Away Zone and the title track start out with Garbarek and Rypdal playing in unison.  On the former, Rypdal goes on to make striking use of a slide up at the bridge of his guitar.  Meanwhile Garbarek is at his freeest, with his 60s free jazz influences clearly on display, sounding more than once like a train whistle on its way from Oslo straight to Valhalla.  Afric Pepperbird itself settles into a swampy groove, with Rypdal breaking out the wah pedal.  All in all, a highly recommended early high water mark from a unique label starting to stake out its territory.

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P.S. check out this quartet in concert from a year later!