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Jan Garbarek: Madar

 A l b u m   D e t a i l s


Label: ECM Records
Released: 1994
Time:
 77:34
Category: Jazz
Producer(s): Manfred Eicher
Rating:
Media type: CD
Web address: www.garbarek.com
Appears with: Keith Jarrett, Eberhard Weber, The Hilliard Ensemble
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Sull Lull (Traditional) - 16:51
[2] Madar (A.Brahem/J.Garbarek) - 11:14
[3] Sebika (J.Garbarek) - 5:32
[4] Bahia (J.Garbarek) - 10:20
[5] Ramy (J.Garbarek) - 3:00
[6] Jaw (U.S.Hussain) - 8:04
[7] Joron (Traditional) - 6:29
[8] Qaws (A.Brahem/J.Garbarek) - 15:12
[9] Epilogue (J.Garbarek) - 0:52

 A r t i s t s ,   P e r s o n n e l


Jan Garbarek - Soprano Saxophone, Tenor Saxophone
Anouar Brahem - Oud
Ustad Shaukat Hussain - Tabla

Manfred Eicher - Producer
KJan Erik Kongshaug - Engineer
nut Bry - Liner Notes
Jan Jedlicka - Artwork
Barbara Wojirsch - Layout Design

 C o m m e n t s ,   N o t e s


1994 CD ECM Records - ECM 1515

Madar is an album by Norwegian saxophonist Jan Garbarek featuring Tunisian oud player Anouar Brahem and Pakistani tabla master Ustad Shaukat Hussain recorded in 1992 and released on the ECM label in 1994. The Allmusic review by Scott Yanow awarded the album 3 stars stating "It may take some time for listeners to get into this music and notice the fire beneath the ice but the close communication between the players is apparent from the start. Jan Garbarek has succeeded in carving out his own unique niche in improvised music and Madar is a good example of how he can create a great deal out of what seems like very little"



Following in the footsteps of Ragas and Sagas, which found Jan Garbarek in the seemingly unlikely company of Ustad Fateh Ali Khan to uplifting effect, the Norwegian saxophonist continued to expand his horizons with Tunisian oud virtuoso Anouar Brahem and tablaist Ustad Shaukat Hussain on Madar. The three bond naturally in the lengthy “Sull lull,” a nearly 17-minute prayer of keen and sensible interaction for which Hussain brings constant airflow and foils Garbarek’s chameleonic talents superbly. It is one of two tracks based on folk melodies of Garbarek’s native land. The other is the saxophone/oud duet “Joron.” Madar serves in this vein as an internal conversation between the two instruments, their sounds speaking to one another like rocks from a river’s touch. Together they become a pair of hands etching stories into a stretch of hide, twisting incantations until they bleed light (“Sebika”) and dark (“Ramy”). As they continue to circle overhead, surveying a landscape of withering sin, they bring out something unknown in one another.

Despite the loveliness of these interactions, the album works best in solitary. Brahem’s contemplative solo, “Bahia,” treks over twilit mountains with aching footsteps, carrying us as if by palanquin into a vale of lost intentions. The wind of his percussiveness shakes the boughs of leafless trees and sends their dead seeds clicking to the ground like sand against a window. And in the rhythmic cast of “Jaw,” Hussain emotes lifetimes in a single beat of his tabla, thus offering some intensely lucid moments. He returns to the fold in “Qaws,” giving voice to those waiting eyes at last with solid excitement. An odd piano “Epilogue” (sounding like a chord outline for a studio track left behind) leads us out.

A word to the wise: Garbarek reaches some of his most piquant levels ever here, so intense that you may find yourself needing to lower the volume at peak moments. This may antagonize some, but in the end couldn’t we all do with a little awakening?

ECM Records



On this CD Jan Garbarek (doubling on tenor and soprano) is accompanied only by Anouar Brahem on oud and Ustad Shaukat Hussain's tabla. Garbarek shows off his distinctive tones and lyricism on a set of gradually developing group originals, two of which are based on traditional Norwegian melodies. It may take some time for listeners to get into this music and notice the fire beneath the ice but the close communication between the players is apparent from the start. Jan Garbarek has succeeded in carving out his own unique niche in improvised music and Madar (which also has individual features for Brahem and Shaukat) is a good example of how he can create a great deal out of what seems like very little.

Scott Yanow - All Music Guide



Über das Trennende ihrer Herkunft und ihrer Kultur hinweg finden hier zwei Freigeister zu einer faszinierenden gemeinsamen Sprache, einer Sprache zumal, die sich aller Klischees, sei es aus dem Jazz-Mainstream oder der kommerziellen Weltmusik, enthält. Jan Garbarek, der Norweger, hat mit seinen kühlen Nordlandimpressionen eine ureigene Ästhetik der Stille geschaffen. Anouar Brahem, der Tunesier, beherrscht diese Kunst des Aussparens, des mit wenigen Tönen viel Sagens, ebenfalls vortrefflich. Nach zwei ECM-Produktionen in Federführung ("Barzakh", 1990, und "Conte de l'incroyable amour", 1992) kommt Brahem nun mit seiner arabischen Oud dem Saxophon Garbareks auf halbem Weg entgegen. Der Norweger war auf diese Begegnung wohlvorbereitet: Er forschte seit langem nach den geheimen Fäden, die das Volksliedgut seiner Heimat über den Balkan mit dem Vorderen Orient verbinden. Daß Shaukat Hussain, der 74jährige Tabla-Altmeister Pakistans, bei dieser gegenseitigen Annäherung den Rhythmus vorgibt, darf nur als Bereicherung verstanden werden - und bezieht, durchaus gewollt, den indischen Kulturraum mit ein. Am eingängigsten geriet der Dialog zwischen Brahems arabischer Laute und Garbareks markantem Sax über zwei traditionellen norwegischen Melodien. Aber auch in den selbst komponierten Stücken nähern sich die Beteiligten in beseelter Improvisation einer ernsthaften, ort- und zeitlosen Kunstmusik. Im Osloer Rainbow-Studio zeichnet ECM-Hausingenieur Jan Erik Kongshoug ein konturenscharfes Klangbild, in dem die Präsenz der Instrumente keine Wünsche offenläßt.

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