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Jan Garbarek: Belonging

 A l b u m   D e t a i l s


Label: ECM Records
Released: 1974.04.25
Time:
 46:34
Category: Jazz
Producer(s): Manfred Eicher
Rating: *********. (9/10)
Media type: CD
Web address: www.ecmrecords.com
Appears with: Keith Jarrett, Eberhard Weber
Purchase date: 2001.12.20
Price in €: 17,99



 S o n g s ,   T r a c k s



[1] Spiral Dance (K.Jarrett) - 4:11
[2] Blossom (K.Jarrett) - 12:15
[3] 'Long as You Know You're Living Yours (K.Jarrett) - 6:14
[4] Belonging (K.Jarrett) - 2:15
[5] The Windup (K.Jarrett) - 8:27
[6] Solstice (K.Jarrett) - 13:13

 A r t i s t s ,   P e r s o n n e l


JAN GARBAREK - Soprano & Tenor Saxophone
KEITH JARRETT - Piano
JON CHRISTENSEN - Drums
PALLE DANIELSSON - Bass, Double Bass

JAN ERIK KONGSHAUG - Engineer
TADAYUKI NAITOH - Design, Cover Design
BARBARA WOJIRSCH - Bass, Layout Design

 C o m m e n t s ,   N o t e s


1974 LP ECM 829115-2
1974 CS ECM 829115
1990 LP ECM 829115
1990 CD ECM 829115
1994 CS ECM 21050
2000 CD ECM 829115
2000 CS ECM 829115-4



On Keith Jarrett's first recording with his "European" quartet — Jan Garbarek (sax), Palle Danielsson (bass), Jon Christiensen (drums) — he stakes out somewhat less abrasive territory than that which his "American" foursome was exploring at this time. Garbarek sports a neutral, vibratoless tone that occasionally reaches an emotional climax; the rhythm section is supportive and just loose enough. The record operates at its strongest level when Jarrett locks the quartet into his winning gospel mode on "'Long as You Know You're Living Yours" and the tense drive of "Spiral Dance"; the reflective numbers are less compelling. Still, this LP-turned-CD successfully bucked the powerful electric trends of its time and holds up well today.

Richard S. Ginell, All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



Als Keith Jarrett mit diesem skandinavischen Quartett debütierte, war er bereits damit beschäftigt, eine in den USA stationierte Gruppe in der selben Größe zusammenzustellen mit starken Anlehnungen an die Spielweisen von Ornette Coleman und Paul Bley (und hierbei setzte er sogar ehemalige Mitglieder der Bands von Coleman ein). Mit dieser skandinavischen Band konnte Jarrett besser wehmütige, melodische Improvisationen spielen, die von Jan Garbareks schwingendem, aber fast ohne Vibrato gespielten Ton profitierten, aber ebenso von den fließenden rhythmischen Läufen des Schlagzeugers Jon Christensen und des Bassisten Palle Danielsson. "Blossom" ist eine lange, sich langsam entwickelnde Ballade, so zart, wie es nun einmal in Jarretts Repertoire werden kann, und jede noch so kleine Bewegung, die die Gruppe macht, verdient Beachtung. Wenn auch ein wenig bei den langsameren Stellen ein eisiger Hauch weht, so gelingen der Band dennoch einige von Gospeln inspirierte Prachtstücke wie "Long As You Know You're Living Yours" und das harmonisch vielschichtige Funk-Stück "Windup". Alles in allem ist dies nicht nur eine der Spitzenleistungen von Jarrett, es ist auch ein Höhepunkt für den Jazz der siebziger Jahre allgemein.

Andrew Bartlett, Amazon.de



Music of overwhelming beauty continues to flow from pianist Keith Jarrett's fingers in an undiminished torrent. His recent concerts (including a near sellout at New York's Avery Fisher Hall) have been the best of his career and his two record companies, ABC/ Impulse and the German ECM label, are both getting excellent albums from him. Death and Belonging are small group efforts with similar instrumentation. The former includes only three tunes and is a much deeper and more satisfying statement than Treasure Island. Belonging features Norwegian saxophonist Garbarek's trio with Jarrett playing the pianist's compositions. The contrast between the two LPs is instructive, for the American band with which Jarrett performs is as individual, quirky and spontaneous as the Norwegian group is homogeneous, deliberate and polished. Dewey Redman, the American band's saxophonist, combines the cry of the blues and the meaty Texas tenor sound with an approach which is often laid back, while Garbarek blows diamond-hard solo lines that stand out in bold relief and at times achieve an almost overbearing intensity. The American rhythm section spreads out in ripples while the European bassist and drummer provide a small, mobile center. Jarrett sounds equally at home in both contexts. His solo playing has attracted the most attention, but give and take with other musicians may eventually prove to be his true calling. Bassist Charlie Haden, on Death, and saxophonist Garbarek respond to him with some of their best recorded playing, and the grit that's sometimes missed in the bravura of the solo performances is present in abundance on both LPs.

BOB PALMER, RS 189
© Copyright 2001 RollingStone.com
 

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