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Jan Garbarek: Paths, Prints

 A l b u m   D e t a i l s


Label: ECM Records
Released: 1982.12.03
Time:
 51:03
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] The Path (J.Garbarek) - 7:11
[2] Footprints (J.Garbarek) - 10:06
[3] Kite Dance (J.Garbarek) - 5:35
[4] To B.E. (J.Garbarek) - 3:10
[5] The Move (J.Garbarek) - 6:39
[6] Arc (J.Garbarek) - 5:01
[7] Considering the Snail (J.Garbarek) - 6:30
[8] Still (J.Garbarek) - 6:18

 A r t i s t s ,   P e r s o n n e l


Jan Garbarek - Soprano Saxophone, Tenor Saxophone, Wood Flute, Percussion
Bill Frisell - Guitar
Eberhard Weber - Bass
Jon Christensen - Drums, Percussion

Manfred Eicher - Producer
Jan Erik Kongshaug - Engineer
Barbara Wojirsch - Design
Petra Nettelbeck - Cover Photo

 C o m m e n t s ,   N o t e s


1982 LP ECM Records - ECM 1223
1987 CD ECM Records - ECM 2301 223

Recorded December 1981, Talent Studio, Oslo.

Paths, Prints is an album by Norwegian jazz composer and saxophonist Jan Garbarek recorded in December 1981 and released on the ECM label in 1982. The Allmusic review by Ron Wynn awarded the album 3 stars calling it "One of the better, more exciting releases".



December of 1981 was a magical month for ECM, producing such treasures as Psalm and Opening Night. On Paths, Prints, however, Manfred Eicher raised the bar yet again in bringing together another of his unique dream teams. Jan Garbarek, Bill Frisell, Eberhard Weber, and Jon Christensen in the same studio? Engineering complexities aside, one need only have hit Record, taken a nap, and awoken to masterful results. Throughout this session, Garbarek’s sharply defined reveries prove the perfect fulcrum for Frisell’s broadly sweeping clock hands. Garbarek also exposes a softer side, as in the whispered edges of “The Path” and “Arc,” and in the seesawing contours of “Still.” The painterly movements of “Kite Dance,” on the other hand, foreground Weber’s globules of sound against the blush and heartwarming soloing of Frisell’s omnipresent guitar. Not too far behind are “Footprints,” which shows Christensen in an especially colorful mood, and “The Move,” which pours on Garbarek’s signature lilt like heavy cream. Certainly his most effective passages are also the most intimate: “Considering The Snail” and “To B.E.,” the latter a duet with Frisell, are concave, while their surroundings are convex.

One can easily fall into the trap of painting ECM jazz as forlorn, breezy, and overwhelmingly lonesome. Yet one journey through Paths, Prints is all it takes to realize that the music is always our companion.

ECM Records
 

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