JAN GARBAREK Quartet (w/ Weber, Jansen, Vasconcelos) 1987-02-04 Logan Hall, London, UK (FM reseed w/ mp3-sample)

JAN GARBAREK Quartet
(w/ Weber, Jansen, Vasconcelos)
1987-02-04
(feb 4, 1987)
Logan Hall
London, UK

"ALL THOSE BORN WITH WINGS" - tour

source:
BBC Radio 3 FM > Denon TU-400L tuner > VHS > VHS LP > Archos Gmini 120 > Audition > FLAC
Recorded off air and transferred by PsyKies
sound sample provided in comments section

setlist:

cd1 56:37
01. All Those Born With Wings: 1st Piece (Garbarek) 8:04
02. A.I.R. (C.Bley) 7:39
03. The Companion (Garbarek/Vasconcelos) 5:43
04. The Last Stage Of A Long Journey (E.Weber) 14:13
05. Vegen 'Til Mekka (Garbarek) 4:49
06. Hasta Siempre (Carlos Puebla) 6:42
07. The Crossing Place (Garbarek) 9:24

cd2 50:28
01. All Those Born With Wings: 2nd Piece (Garbarek) 6:04
02. All Those Born With Wings: 5th Piece (Garbarek) 12:04
03. Gesture (Garbarek) 7:29
04. Dansere (Garbarek) 11:38
05. Paper Nut (L.Shankar) 7:41
06. EMission: To Be Where I Am (Garbarek) 5:31

total time 107:06 min.

lineup:
Jan Garbarek - tenor+soprano sax, flute
Lars Jansen - keyboards
Eberhard Weber - bass
Nana Vasconcelos - percussion, berimbau, voice

cover artwork inside

note by PSYKIES:
Billed as Jan Garbarek Quartet. First date of the 1987 Contemporary Music Network UK tour.
When this tour was originally announced David Torn was in the lineup but was replaced by Lars Jansen before the tour commenced.
Recorded by me off air direct from the original broadcast in late 1987 to a Panasonic Hi-Fi VHS video recorder
in SP audio only mode. Sometime in the mid to late 1990's I misguidedly transferred all my radio recordings to VHS LP audio mode.
This, combined with the age of the tapes has resulted in some evident distortion throughout.

discography:
'Til Vigdis'(1967)
'Esoteric Circle' (1969)
'Afric Pepperbird' (1970)
'Sart' (1971, w/ Terjy Rypdal)
'Triptykon' (1972)
'Witchi-Tai-To' (1973, w/ Bobo Stenson)
'Dansere' (1975, w/ Bobo Stenson)
'Dis' (1976, w/ Ralph Towner)
''Places' (1977)
'Photo with Blue Sky, White Cloud, Wires, Windows and a Red Roof ' (1978, w/ Bill Connors)
'Aftenland' (1979, w/ Kjell Johnsen)
'Eventyr' (1980, w/ John Abercrombie, Nan� Vasconcelos)
'Paths, Prints' (1981, w/ Bill Frisell)
'Wayfarer' (1983, w/ Bill Frisell, Eberhard Weber)
'It's OK to Listen to the Gray Voice' (1985, w/ David Thorn)
'All Those Born With Wings' (1987)
'Legend of the Seven Dreams' (1988, w/ Rainer Br�ninghaus)
'Rosensfole' (1989, w/ Agnes Buen Garn�s)
'I Took Up the Runes' (1990)
'Ragas and Sagas' (1990, w/ Fateh Ali Khan)
'StAR' (1991, w/ Miroslav Vitous)
'Atmos' (1992, w/ Miroslav Vitous)
'Madar' (1992, w/ Anouar Brahem, Shaukat Hussain)
'Twelve Moons' (1992)
'Officium' (1994, w/ Hilliard Ensemble)
'Visible World' (1995)
'Rites' (1998)
'Mnemosyne' (1999, w/ Hilliard Ensemble)
'In Praise of Dreams' (2004)
'Dresden' (2009, live)
'Officium Novum' (2010, w/ Hilliard Ensemble)

links:
http://www.garbarek.com

more of JAN GARBAREK at
http://www.molvaer.de/molvaernordics.htm#G

last seed by PSYKIES on May 19, 2012 as torrent #405992
re-seeded by FBAUER 2014-11-26

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It has long been a sociological clich� that the technological innovations of our century offer much but guarantee nothing in terms of human value. An ideology of ceaseless change and invention can ignore true creativity; the electronic, so-called global village that Marshall McLuhan celebrated in the 1960�s has produced much cultural indigestion, manifested in one or another variety of kitsch. As the artist/potter Bernard Leach emphasised, a worthwhile synthesis of an extended, cross-cultural vision is not available at the push of any button, proverbial or otherwise.
Synthetic in its origins, jazz has done much to demonstrate the genuinely rewarding potentialities of McLuhan�s global village, in music crucially triggered by Afro-American experiences but open to interpretation and development by any number of sympathetically minded artists the world over. Of all the considerable European achievements in jazz of the past two decades, the poetically distilled, deeply human music of saxophonist and composer Jan Garbarek furnishes the most inspiring example of the sort of exploratory synthesis which Bernard Leach sought. A flexible, open-minded musician, Garbarek has both refined and expanded the challenging horizons opened up by the music of John Coltrane and Don Cherry, both of whom were potent influences on the Norwegian�s early work in the 1960�s.
The precocious teenage saxophonist learned much from working with George Russell at that time; reflecting on Garbarek�s subsequent recordings for the ECM label, Russell recently described the Norwegian as being �just about the most uniquely talented jazz musician Europe has produced since Django Reinhardt�.
Since his first recordings for Manfred Eicher�s label, the 1970 Afric Pepperbird album with fellow Norwegians Terje Rypdal, Arild Andersen and Jon Christensen, Garbarek�s c development has been distinguished by an unforced, reflective series of extensions of improvisatory options beyond both the Afro-American models which inspired his early work and the often paradoxical stuctures of hard-core European free improvisation.
No Luddite, Garbarek has sought stimulation from such innovative electric guitarists Bill Frisell and David Torn, while also responding to the acoustic subtleties of Ralph Towner, Bill Connors and Egberto Gismonti. Synthesizer and string orchestra have framed his plangent meditations as fruitfully as windharp and brass sextet, and the singing, electric bass lines of Eberhard Weber have elicited as much melodic invention from the saxophonist as the acoustical excellence of Arild Andersen, Palle Daniellson, Charlie Haden and Gary Peacock. Electric and acoustic elements flow together as naturally as structure and improvisation in an aesthetic in which the textures, rhythms and emotional implications of jazz are refashioned in a manner which owes much to the simple but important fact that Garbarek is an unusually intelligent and widely read man.
He has often spoken of a desire to be part of his own tradition and some of his most memorable compositions have emerged from his work with Norwegian theatre director Edith Roger, for whom he has supplied music for both Ibsen�s Brand and Peer Gynt. There is much in his music�s haunting, lyrically focused blend of rhythmic power and reflective abstraction which recalls phenomenological aspects of that visionary tradition in Scandinavian culture which the Danish painter and theoretician Asger Jorn once summarised in his view that Nordic art �compresses all its power inside ourselves�it works on the mood more than on the senses or the understanding�. Listening to the brooding, tensile quality of line sustained throughout the 1976 Dis album, one�s thoughts are inevitably drawn to the provocatively atavistic worlds of Swedenborg, Munch and Hamsun; Strindberg and Lagerkvist; Ekelof and Jom; Vesaas and Widerberg. Such connections are confirmed by Garbarek�s choice of titles for the 1984 It�s OK to Listen to the Gray Voice album, all of which derive from the recent work of Tomas Transfromer, the Swedish poet who is today�s most incisive literary representative of the peculiarly intense Scandinavian compulsion to illuminate modernism�s desacralising darkness.
It would be misleading however, to see Garbarek as the Ingmar Bergman of contemporary jazz, and nothing more. A sense of buoyant extroversion as well as intimate illumination can inform his playing; melancholy is certainly a crucial element in his music, but the lovely, airy melodies of compositions like Blue Sky, Kite Dances and Gesture are no less part of the saxophonist�s musical persona than the austere lament of Aftenland (Evening Land) or the tragic protestation of Skygger (Shadows). The emotional range of Garbarek�s music lifts it well beyond the reach of such traditional descriptive labels as �hot� or �cool�, �third stream� or �straight ahead�; intelligence and passion combine as fruitfully as individual and group to respect the breadth of jazz tradition in the best way, by making it now.
Originating in impulses drawn from post-bop jazz, primarily from Coltrane, Miles Davis, Pharaoh Sanders, Archie Shepp and Albert Ayler, Garbarek�s mature expression derives as much from a appreciation of the economic, lyricism and story telling power of Louis Armstrong, Billie Holliday, Lester Young and Johnny Hodges as it does from a love of the flowing harmonic breadth of Keith Jarrett�s compositions or the pan-tonal, rhythmically diversified ideas of George Russell. The strongly folk-influenced nature of much of his work has been inspired by both the minor-hued cattle calls of his native country and incantatory pentatonic melody from as far afield as Bali and the south west of Native Indian America. The latter has joined South American, Asian and European folk polyrhythms in helping to stimulate the more exultant aspects of his penetrating, imploring sound and diversified phrasing. Such widely derived jazz and folk elements are often melded together in spacious compositions in which ideas and emotions are given maximum room to breathe and develop.



�If there is an Ingmar Bergman in the often over-excitable world of contemporary jazz, it is the Scandinavian saxophonist, Jan Garbarek.� The Guardian

�The least that can be said on behalf of Jan Garbarek � is that he reaches into emotional areas hitherto unimagined by more conventional forms of jazz.� The Times

�� it is hard to recall any other Europeans who have so clearly shown America that, through a sensitive use of folk sources, the texture and rhythms of jazz can be Europeanised without its umbilican cord beinh cut.� The Wire

Images for all shows as well as full size images for this show.

Images for this show:

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