Jan Garbarek - "The idea of north"
November 17, 2008 by quoyle
Posted in category Notes jazz , FocusOn , Saxophone , Cards , Jazz History
Table of Contents
1 Prelude
2 Education "Sentimental"
3 Don Cherry
4 Nothern Lights
5 Bobo Stenson & KeithJarrett
6 Experiences
7 Places
8 One World
Jan Garbarek Discography A1
1 Prelude
In contemporary society, the music has lost much of its power "social" and "ritual". Our days are filled with rumors of every kind and every space is filled with useful background.
¬ What happen to eat at a restaurant with background music often of poor quality and being immersed in a jelly sound throughout the day. This trivialization of musical culture, combined with the fact that music is more 'considered as a factor of cultural enrichment, has led and continues to bring quality music and a decay of the leakage of a large part of the instinctual and social capital that music can be.
In this scenario troubling is therefore essential etnomusicali recover the roots of our history, without prejudice of any kind, trying to riappropiarsi of power "shamanic" healing ritual and musical experience.
More than many other artists, Jan Garbarek and the general musical movement Scandinavian tried to return to the shamanic roots and popular music, especially roots Saami, finding the connections with the tradition pbalcanica and Asia, a long process which began in the
sixty from contact with the true prophet of the "World Music" in the sense of more far-reaching as possible, Don Cherry.
I started listening to Jan Garbarek starting randomly from his album of 1987 Legend of Seven Dreams, particularly attracted by the cover, which reported the Nordic colors, northern wastelands. A chance encounter and how often 'success in my approach to music, a meeting that started me along a path of plays linked to northern Europe, in the sense of desolation and powerful nature that the north can express.
A music intimately tied to the concept of World Music understood as more 'positive word is, in fact the conception of Don Cherry.
In this respect they are clarifying their own words of Jan Garbarek on the identification of some particular elements of this definition and how to be able to filter out noise in the sea of information we live in the concepts of early music:
For anyone living in Europe today, or anywhere else in the world where you have access to media, there is a World Music made of everything 'that we hear. It 's all in the ether, air, all the waves. And 'folk music from around the world, classical, rock, pop, everything. There is no more the pure musical mind that has known only one source and e 'remained faithful.
It 's rare to find a person ¬ thing in our world revolutionized by the media. ¬ What we do whatever it becomes a transformation of the music media, music for elevators as for concert halls. It 'a very very wide range. You have to take into account many
Information. Even if you try to remain uncontaminated by anything, it is not possible. It may be that what you do not have done it if I had not heard that song in an elevator in 1987! You can not 'make theory about these things, but everything is at our disposal. You can walk into a store .... I did and before me there was an album of Moroccan music. Music for large ensemble. Do not even know he rises there existed an orchestra
of this type. Well I bought it without hearing it, and it was very interesting. I bought it on impulse at a shop in Tokyo!
Often it is so I choose the music I listen to, almost at random. Within somewhere and I hear or see something. "Now I take it." It might be worth it or not. Still remain inside me "
Jan Garbarek Solothurnmann from page 5
And it 'This is the concept of World Music that drives the search for Garbarek, present in all his forty years' record production.
An array of sound deeply tied to the departure of John Coltrane tenor sax, initiated by a listen random Giant Steps in Norway for 60 years and the chance meeting with Jon Christensen.
A beginning that denying or forgetting the deep voice of the North, to dive into a perhaps inevitable exploration of the roots of Afro Bop saxophone.
The militant youth group in the orchestra of George Russell, a true patron and discoverer of young talent and prophet of experimental musicians and sound.
And 'own with George Russell's first appearance record of a young Garbarek:
"1966 - The Essence of George Russell - Soul Note 121044-2"
The militant groups of Russell and 'very important in training for Garbarek, and not only at the level of formation. The orchestra Russell represents a real laboratory, un'incrocio musicians, experiences and alternative approaches to jazz.
And 'possible to identify various phases in the definition of the poetic music of Garbarek, of course not intended phases in pure chronological order and with constant references to earlier and later stages in each of these:
1. African American Stage 1966-1970, made the search of popular American jazz tradition, language acquisition and improvisational sound of the jazz tradition, especially that related to Coltrane
2. 1970-1980 Phase Impressionist, an adaptation phase of the syntax of language learned in the previous phase to paint soundscapes characterized by northern wastelands, fruit of the ideas of George Russell and Don Cherry
3. Phase PanCulturale 1980-1985, a period of exploration of the connections, traditional Saami, a journey into the culture "out" of saamiland, to get through the Balkans to the musical concept of India, already the muse of Coltrane.
4. 1985-1994 Phase Shamanic in this period Garbarek's music is enriched by the typical colors of folklore, and the unmistakable melodic simplicity and serial repetition that bring in the spiritual and ritual
One year ago:
