- World Of Music - Svastara - 2010
05.03.2010 - Kino "Šiška", Ljubljana
05.03.2010 - Kino "Šiška", Ljubljana
Nihče ne igra saksofona kot Jan Garbarek
V Kino "Šiška", Ljubljana, čez teden dni, natančneje 5. marca
2010 prihaja ikona jazz glasbe Jan Garbarek - eden najboljših in najbolj prepoznavnih
svetovnih saksofonistov. Družbo na odru mu bo delal veliki mojster vzhodnjaške
in zahodnjaške ritmike, nigerijski bobnar Trilok Gurtu.
Garbarekov zvok je v desetletjih neumornega ustvarjanja postal
blagovna znamka slovite trdnjave evropskega jazza - ECM Records. Norveški
leta 1947, se je zaradi intenzivnega sodelovanja s Keithom Jarrettom že zgodaj
prebil v elito modernih jazzistov. Njegovo ime se pojavlja v družbi velikih
imen Amerike in je povezano z rojstvom originalnega evropskega zvoka v jazzu.
Leta 1962 je Garbarek osvojil naslov najboljšega amaterskega
jazz igralca, kar mu je omogočilo prve nastope. V 60-ih letih 20. stoletja
je deloval na
Norveškem, pogosto kot vodja, štiri leta pa tudi z Georgeom Russellom. V zgodnjih
70-ih letih 20. stoletja je pričel snemati za založbo ECM in sodelovati s skupino
Keith Jarrett's European quartet, s čimer je zaslovel in posnel tudi klasiki
"My Song in Belonging". V 80ih so Garbarekove skupine vključevale tudi basista
Eberharda Weberja in pogosto tudi kitarista Billa Frisella in Davida Torna.
V letu 1993 je sodeloval z Hilliard Ensemble [vokalni kvartet, ki je pel renesančno
glasbo] in z njimi posnel zelo popularen album. Leta 1995 je sledil album "Visible
World", štiri leta kasneje pa se je znova pojavil z "Rites". Aprila 1999 se
je s Hilliard Ensemble vrnil z albumom "Mnemosyne".
Lansko leto (2009) je Jan Garbarek izdal svoj prvi koncertni
album "Dresden". Dvojni album, posnet leta 2007 v istoimenskem nemškem mestu,
silovitosti Garbarekovega nastopa in njegovih improvizacijskih sposobnosti.
Ekspanzivni zvok se razsteza od popolne meditativne umirjenosti do ekspresivnih
izbruhov, glasba pa je preprosta in kompleksna naenkrat.
Na pričujoči turneji bodo Garbareka spremljali izjemni glasbeniki
- klaviaturist Rainer Brüninghaus, ki Garbareka spremlja že vrsto let, brazilski
Daniel in veliki indijski tolkalski mojster Trilok Gurtu. Ta izvrstna zasedba
obeta izredno koncertno doživetje, s pravim razmerjem med zvočnim ambientom
Friday, 05. March 2010 at 20:00, Kino "Šiška" Ljubljana
Jan Garbarek group feat. Trilok Gurtu
Jan Garbarek, one of the most prominent saxophonists in Europe
and the World is joined by the great master of Eastern and Western rhythms
for his current
European tour, which also visits Kino "Šiška".
JAN GARBAREK saxophon ;
RAINER BRÜNINGHAUS piano ;
YURI DANIEL bass ;
TRILOK GURTU percussion .
Nobody plays the Saxophone quite like Jan Garbarek. In several
decades of tireless creativity, his sound has become a "trademark" of the famous
of European jazz - ECM Records. Thanks to intense cooperation with Keith Jarret,
the Norwegian saxophonist, born in 1947, soon joined the very elite of modern
jazz. Appearing side by
side with great names of American jazz, his name is primarily related to the
birth of the original European sound in jazz.
In 1962 he won the title of the best amateur jazz performer,
which brought about his first performances. In 1960's he worked in Norway,
bands, but also working with the great George Russell for four years. In early
1970's he began recording for the ECM label and gained wider recognition through
his work with pianist Keith Jarrett's European Quartet, which released the
albums Belonging and My Song. In 1980's Garbarek's groups included the bass
player Eberhard Weber and often guitar players Bill Frisell and David Torn.
In 1993 he worked with the Hilliard Ensemble vocal quartet, which performed
renaissance music, and recorded one of his most popular albums. This was followed
by the "Visible World" album in 1995 and "Rites" four years later. In April
1999 he again appeared with Hilliard Ensemble the album "Mnemosyne".
Last year (2009) Jan Garbarek released his first live album
"Dresden". The double album, recorded in 2007 in the eponymous German city
serves as a telling proof
of Garbarek's forceful performance and his improvisational abilities. The expansive
sound extends from complete meditative calm to expressive outbursts, the music
being simple yet extremely complex.
JAN GARBAREK INTERVIEW (für Dresden
1. For many years you’ve been touring extensively and very successfully. Why
are you only now releasing your first live album as a leader?
I guess there are a number of reasons, really. First of all
it's so much more practicable these days with the equipment. It's so much smaller,
so much more
easy to manage, you know; to bring along the recorders, digital computers and
so on. Before you had to have a huge bus and a big mixing board and it got
very serious, so that some musicians would actually freeze and not really do
that well because it was that one opportunity, when everything was happening.
It was a live recording, and it was a bit of pressure involved in that. It
can be good but also not so good. But in this case it’s quite easy to bring
it along in a small car. A sound engineer travelled with us and all the equipment,
and it was very easily set up and taken down every day. We recorded five nights
so we would have the option. It must be something good in five nights we thought.
I listened to all these five concerts and in the end we went for the one you
know, I don’t know what do you say, good or bad that’s what it is. That's a
concert. But in this case of course we have done the concert quite a few times,
the same repertoire, before we actually brought along the equipment. So we
felt fairly confident about the shape of the concert and the way it went, you
know. So it's just a matter of getting decent sound and I think out of the
five, Dresden was the best sound. And for that reason it was the best starting
point for me.
2. The group's programs tend to be quite consistent: there
isn't much change regarding the sequence from concert to concert. How do you
compose these sets?
That's the way we like it, that way we all feel confident and we know what
kind of dynamic the piece needs in the program. But it's simply, if you have
only slow pieces and you do the concert a number of times, some of them are
ending up as fast pieces, because just the situation demands it, you know.
So to set up a concert program is kind of tricky in a way, you have to put
the pieces where you know they will get the right amount of strength and
dynamic, so they don’t get lost, because you have two slow pieces after one
another or two soft pieces then it can be too much, you know. For a concert
you have to balance things, you need to be aware of this, I think. But a
great teacher are all the old symphonies in four parts and so on, you know.
So that’s in the back of our minds also, when the sets are being made. I
think actually there are some rules of dynamic that seem to work, and they
always worked, you know.
3. You’ve worked with your group for many years now. In which way is this
quartet the ideal format for you?
I need rhythm, I need chords and I need melody - and that's
music, you know. And the piano takes care of the chords and the drums and the
bass also the
rhythm and the fundaments. And I do melody. And it's a good classic combination;
it brings all the ingredients really in a nice way together. I mean for many
years I had a guitar, rather than a piano or a keyboard in my groups, because
I find the guitar left more open space for me, for everyone really - and it’s
a more flexible instrument in the way the sound is made, instead of the piano,
which is more mechanical in a way. But then of course I realized, that when
I make up my pieces, I very often sit at the piano also and use that for reference
and so there are chords being made, created, which cannot really be done at
4. You alternate between two different drummers these days. Sometimes Manu
Katché, heard here on this album, and sometimes Trilok Gurtu. In what way
do their respective characters affect the group as a whole?
So we had an extreme fortune, I would say, because I found
myself without a drummer and I asked Manu, if he could do some gigs with us
and he could do
some, but not all. And then I asked Trilok. I have a long history with him
and he was willing to do some other gigs. And all together, I think they split
"fifty-fifty" all the tours we did in the last couple of years. And they are
really very, very different players, different instruments and different approach,
different culture, different discipline, different personalities. Everything
is different. And you know I enjoyed tremendously playing with both of them.
It's been quite a lesson also for me to switch one drummer and, then the next
concert another drummer. It’s been very fresh. I feel free to reach for the
sky any moment and I will have the proper propeller, you might say, with me,
you know along the way. Either with Manu and Trilok its really been a tremendous
fortune for me to have these players, you know very inspiring, so I learned
a lot from that.
5. While you are known for your sense of melody, when composing, you often
take a rhythmic cell as a starting point. How does that work?
I get an idea for a rhythm or I hear something interesting
and I try to remember what it was, I try to put it into my computer really,
with drums sounds and
so on. And when I have a beat that I find is interesting, I try to fit some
accompaniment to it, in form of chords or patterns in the piano and on top
of that a melody will appear. The rhythm is really that’s where it all comes
from in the end. So any melody should be shaped by the rhythm. I feel if I
have a good rhythm, which I find interesting and comfortable and that flows
nicely, a melody will come very easily, you know. Let's say it's a matter of
convenience. That's what triggers my creativity, is to have a good rhythm.
Also live, when we do more free playing, you know, if somebody starts a rhythm,
which I find appealing, then I can improvise for hours with that. Of course,
improvisation for me means making up melodies, that's what I do. The rhythm
makes everything gel together and makes it really move and flow.
6. Improvisation in your group seems
to evolve within a relatively fixed framework. Can you comment on that?
I find for myself that, if we have more guidelines or arrangements
or, you might say, compositional elements, really, it can give you more freedom.
first time I think I thought about it was, when I played with George Russell.
He gave me two notes a "c" and a "c-sharp", I think it was. And he said: "You
can only play these two notes for five minutes". And that was like a liberation,
there was nothing more to think about, you just had to deal with that and make
as much as possible - make something interesting out of it, you know. It kind
of taught me that limitations in any form can trigger creativity, rather than
limit them. And I thought about it also, when we did free jazz in the sixties.
If it’s so free, why does it always sound the same, you know? That was a bit
of a concern for me. Because if it's free, then it could go anywhere, it could
sound like anything. But it sounded like free jazz and that was a pretty restricted
area for me. So this total freedom meant restriction. And the opposite, if
you limited the elements that meant freedom. It’s kind of a contradiction,
but an interesting one.
7. Do you consider your own music to
be jazz in the conventional sense of the word?
Jazz for me is some... It starts with Louis Armstrong and
it kind of closes the circle around 1960 or 65, I think. That's jazz. And anything
new that started
after that is something else, it's sort of beyond that realm of jazz the circle
that contains, what I call jazz, you know. Jazz is Armstrong, Ellington, Oscar
Peterson, Gene Ammons, Dexter Gordon. Even some early Miles and Coltrane but
then, I think they brought it out of what I consider to be jazz. So it's a
matter of definition and categorization you know. What's the limit? If it means
instrumental music with rhythm is jazz, if all of that is jazz, then you know,
it doesn’t make sense. The word jazz then becomes diluted, I think it's the
word... So no, I don't consider it jazz but on the other hand my long history
as a listener and a player of jazz myself, certainly brings all these elements
into the music as well. But it becomes partly something else and I’m very happy,
I don't have to find a name for it or anything like that.
8. Why did you begin playing music?
I had absolutely no fascination for music in itself, except
as, you know, it's fun to dance with the girls when you are twelve, thirteen
years old and
so on; to some old Elvis records or whatever at the time. But then, of course,
I heard Coltrane on the radio and it changed everything. That's like a very
serious moment in my life. I had been out with my friends, you know, and I
came in, because it was getting dark probably and I heard this music; something
made me stop, you know, this is something very special. And after the music
was finished the presenter said, this was the end of the weekly "jazz-hour"
... so I knew it was jazz. And then I found out that what they actually played
on the radio at that moment was an excerpt from John Coltrane's new album "Giant
Steps" and it was a piece called "Countdown". And then eventually I found this
album and it was on my record player every morning for at least a couple of
years, before I went to school, at breakfast I listened to "Giant Steps", every
day. I immediately started hassling my parents for a saxophone, of course,
and finally I succeeded about half a year later they got me one for Christmas,
you know. As I found out later, a very old and bad instrument. And the funny
thing for me was I had to wait because they had to overhaul the instrument,
put on new pads and so on for it to be playable and in the meantime I had this
instruction book for how to play the saxophone. So in the two weeks I waited
for the instrument I was every day studying this and trying to do fingerings
according to the book. So when the saxophone finally arrived, I could play
quite easily some simple things, you know, right away, so it was a good boost
and a good motivation to go on for me.
9. Can you tell us something about ECM
in the early days?
It was just a very creative atmosphere at that time. We were
all sort of coming up with ideas and it was all very loose and free and then
of course we had
a great engineer in Jan Erik Kongshaug. So I suppose Manfred took the train
from Munich to Oslo and I was told to get a hotel for him downtown. Not too
expensive so we got one, I think it was rather terrible, very cheap and like
a "red-light" type of hotel, you know. So it's a big history and then he went
back on the train again - I think it's a 24 hour train ride - sitting with
all these precious tapes in his lap, because they were worth something, you
know, I mean, it’s like an investment, I suppose. And that was the first album
I was on for ECM. And then soon after we did another one because it turned
out to be quite successful – you know it got good reviews internationally and
so on and yeah - good enough reason to repeat the process. And here we are
still doing it.
10. And what has ECM meant to you in terms of your career?
Oh it's pretty much my life as a musician, you know. It has
taken place within the - I wouldn't say "limits" - because that's exactly
what it's not. I have
been able to do whatever I wanted to do and more - things have been suggested
to me which I would never have dreamt of or thought about myself. In the house
of ECM, you might say, my life as a musician has taken place. So that’s extremely
important, and it just struck me now that how I came to be acquainted with
Manfred was through George Russell actually. Because I was on tour with him
in Italy with his sextet and we played a festival in northern Italy. That's
where I was introduced to Manfred, actually - and asked him if he would be
interested in releasing some tapes we had. Somebody told me he was just about
to start a label in fall of 1969. And Manfred said no! He was not interested
in those tapes, he would like to make his own recordings, his own tapes. And
I frankly took that as a "don't call us we'll call you", and I would never
hear from him again but I think three or four months later or half a year later,
I got a letter from him asking me to put a band together and some repertoire
and find a studio in Oslo, and he would come and we would do the recording.
So it all started there on my gig with George Russell in Italy. And then we
just went on from there, you know. We made the first ECM album, the first we
did anyway, which was called "Afric Pepperbird".
11. And what has it been like to work with Manfred Eicher over all these
Manfred, as a producer, is absolutely committed to the recording, to the
input, you know. And if he knows there is some potential somewhere he will
get to it in a way, with the musicians involved. And I know that he is intensely
involved in every project and I can count on that, you know. So I can take
his input very seriously, because it really means something. I can also count
on covers being taken care of in the most minute detail, you know, from all
points of view, aesthetic and so on. I know also what goes into that - all
these decisions, the smallest thing you know: The size of the letters and
colors and... And I really count on that being done with the utmost care,
really. I think most other musicians would do the same, you know. The presentation
is fabulous, always was. I also felt I was totally free to do whatever I
wanted to do. If I had an idea for something I wanted to do, then yeah, it
could easily become reality. And very often Manfred come up with ideas, which
I never thought, or musicians I never heard of, but he has a sense of what
might work together, what might gel in a sense and so I have come to learn
to trust that input, that side of it as well, you know. A lot came out of
that, a lot of inspiration for me.