sign in sign up
<<
Home , Afric Pepperbird, Aftenland, Arbour Zena, Bernt Rosengren, Bill Connors, Bobo Stenson

MARGINS OF MUSIC MARGINS OF MUSIC

Jan Garbarek: unmatchable poetic authority in today. For some to him at his home studio – as was the case with a listeners, however, the combination of Garbarek with recent contribution to a – he was Armenian violist and (ex-Sting) improvising. But – and it is a big but – improvising in weaver of (jazz) dreams drummer Manu Katché made for an album uncom- response to structures, with a particular sensitivity to fortably close to sophisticated ambient music, or even shaping appropriate factors of tone, texture and the worse, pop. dynamics of phrasing. For such critics the news that, straight after the end Of course, apart from his unique tone, with that Michael Tucker on the abiding popularity of ’s master of valley jazz of his Autumn 2004 tour, Garbarek headed off to magnificent glowing warmth infusing its now frosted, Moscow to play a concert with vocal now exultant edge, the factor that first really distin- specialists The (with whom he guished as a musician was his ability to recorded the million-plus 1993 best seller Officium and play song-like melody, rather than skate through a the later, double-disc Mnemosyne) would only confirm complex sequence of harmonic changes for the sake of the sad fact that the jazz musician Jan Garbarek – the it. From this point of view, one could say that a musi- man who cut those slaughtering with Keith cian like the (quintessentially American) saxophonist Jarrett all those years ago in the mid 1970s – has long Michael Brecker is the polar opposite to the (quintes- traded in his improvising credentials for a safer day’s sentially European, or Nordic) Jan Garbarek. And, great work at the office. technical musician that Brecker is (remaining, for As someone who has been listening to (and writing some, the most influential saxophonist of the past about) Jan Garbarek for over thirty years now, I have to decades), I know to whom I would rather listen, night express my disagreement with any such point of view, after night. on several counts. The critic Whitney Balliett may well Almost forty years separate Jan Garbarek’s first ven- have captured a good deal of the spirit of jazz in his ture into recording from the current In Praise of famous remark of the 1950s that this music was, above Dreams.A variety of reasons make it interesting to com- all else, ‘the sound of surprise’. However, this does not pare the nineteen-year-old’s tenor sax version of the mean, of course, that jazz has somehow to sound com- hard bop blues/jazz classic ‘Walkin’, recorded as a duo pletely different, every time it is played. A good deal of performance with Swedish bassist Kurt Lindgren at the the music of Duke Ellington was completely written 1966 Warsaw Jazz Festival, with the concluding track on out for his orchestra, and some of the most influential Dreams, the (multi-tracked) solo piece ‘A tale begun’. ‘A lot of the time, jazz has meant: no barriers.’ – trios in jazz – such as those of Oscar Peterson in Garbarek and Lindgren explore the theme and vari- the late 1950s or in the early 1960s – based ation format of ‘Walkin’ for some eight or so minutes, n late November 2004 the Jan Garbarek Group promoter, the Jan Garbarek Group is probably the only their improvisations on arrangements which had been the placing of the hard-grained and somewhat dry, played in Brussels, winding up their lengthy, thirty- European jazz group working today which offers such a thoroughly honed in rehearsal. As Ray Brown, bassist overtly measured phrases across the strong, Inine-dates tour of Europe with the last of many bankable guarantee. Naturally, this has led certain with Peterson for so many years, once remarked, ‘Some if slightly stiff pizzicato bass pulse generating appropri- sold-out concerts. Part of the tour included a range of members of the jazz police to ask whether or not what people think we jazz musicians just fall ate tension. The traditional earth-rooted feeling of the concerts in Britain, with a headline closing appearance the Jan Garbarek Group plays today can be called jazz out of bed and play the D-flat scale.’ blues is altered at times at the London Jazz Festival, broadcast soon afterwards any more. Should jazz music really be so popular? And When Jan Garbarek is asked why he on Fiona Talkington’s Late Night Junction slot on should it be presented, as it is with this group, with a doesn’t improvise anything like as BBC3. I caught the group at Brighton’s Dome Theatre. special stage rig and lighting show? Do all such factors much today as he used to in the past The two-hour-plus, wide-ranging set had changed sig- not mean that the essential spontaneity of jazz has been (with George Russell, , nificantly since the last couple of times I had heard the abandoned for the polished slickness of the ‘sold-out’ – or , for exam- quartet at the Bergen Jazz Festival in May 2002 and at indeed, ‘show-biz’ – spectacle? ple) his reply is usually something on Salisbury Cathedral a year later. Towards the end of the Similar questions have been raised by some critics the lines of the following: ‘Well, you performance, some tough and lengthy passages of about Garbarek’s latest solo album , know I feel that I’m still improvising blues-inflected tenor testifying from Garbarek offered the first release under his own name since the 1998 today, but in a different way. For me, welcome complementary contrast to some typical double CD Rites.Co-produced with long-time friend it’s just as much of a challenge to moments of rubato soprano tenderness, before the and producer and released on the lat- bring a note to full life within a beautifully modulated drama of the Hasta Siempre ter’s -based ECM label, the new disc has sold in melodic phrase, night after night, as encore (an old favourite from the 1970s) left a good gold-plated bucketfuls and been nominated for a it once was to play all those lines with many in the audience baying for yet more. Grammy. Within its overall unity of mood, for me the George or Keith.’ When I asked him Over the past fifteen years the group – which record contains many truly arresting features, such as about this after his Brighton con- besides saxophonist and flautist Garbarek features the modulation from the initial soprano-led ‘As seen cert, he made much the same point, photos and covers ECM German keyboardist Rainer Brüninghaus, his compa- from above’ to the later, searing passages of declama- underlining that whether he played triot the electric bassist , and the tion in this opening piece, the electronic textures and with the Hilliard Ensemble, and Danish drummer and percussionist – folkish echoing of lines on the title track and the gran- improvised his lines to their note- has established the sort of reputation that enables it ite-like authority of the austere tenor meditations of reading, or put a tenor track on to fill substantial concert halls, year after year. For a ‘One goes there alone’, a classic example of Garbarek’s some partially finished piece sent

60 www.fourthdoor.co.uk www.fourthdoor.co.uk 61 Whatever, it is an especially potent example of the new was to both the Nazi and Soviet authorities – to be kind of poetics in music that Garbarek has created over reminded of how overt and crucial a theme this can be, the years. And as the title of his latest album indicates, rooted in the socio-political and racial realities of Afro- this is essentially a space of (and for) dreams. American life. On the other hand, one has only to think Over the years, Jan Garbarek has come to create of a musician like and a track like the music of both an expansive, contemporary vocabulary 1963 Alabama – Coltrane’s deeply affecting rubato and ancient, archetypal vision. It is music which is meditation on the death of four black children in a open, essentially, to the poetics of both psychic space racist bombing of a church in that town – to be and the elements: to North and South, East and West; reminded how the piquancy of jazz can serve to open by some judicious moments of abstracted thematic dis- earth and fire, wind and water. Finely crafted, lucid up in one the sort of trans-cultural feelings which the placement from the young Garbarek, somewhat remi- music that as it is – qualities in plentiful evidence Spanish poet, dramatist and artist Federico Garcia niscent of Eric Dolphy’s way with a blues line. In throughout In Praise of Dreams – it remains music Lorca summarised through his central idea of cante retrospect, the brief, freely cast coda – with its power- which has always had the courage to engage the some- jondo,or ‘deep song’. ful, drone-like figures on arco bass – is especially inter- times disturbing, sometimes fructifying energy of the Coltrane once observed that, every esting. Chance as it may have been, the fact that unconscious, the better to intimate transcendent (or, now and then, it was important to look Garbarek’s first recording should feature bass so rather, transmuted) realms. One thinks of the Hamsun- back at the roots of things, and try to strongly is intriguing, given the many later recorded like ‘wandering’ interplay of saxophone, guitar and see them in a new light. Hence the fruits of his collaborations with, for example, bassists windharp on the 1976 Dis (Mist/Haze), the poised yet beauty and the power of such classic and , and liquid reveries of the 1984 It’s OK to Listen to the tracks and albums of the 1960s as ‘volcanoes, ants, gentle breezes , Niels-Henning Ørsted Pedersen and Grey Voice or the plangent afffirmation of much of Coltrane Plays the Blues, Spiritual, and the Milky Way clasping the and, in particular, Eberhard Weber. the 1986 solo release All Those Born With Wings.Above Afro-Blue, Crescent and A Love great night to her waist.’ The Garbarek’s near-constant playing companion for the all, Garbarek has created music which has never Supreme.It was a chance encounter duende draws us to ‘the edge past thirty years, this extraordinary electro-bassist is a neglected the impulse to sing, to dream deeply of life’s with the music of Coltrane, one day of things, the wound’ – the musician deeply in tune with the saxophonist’s essen- possibilities. in 1961 when the fourteen-year-old place where, according to tially poetic approach to matters of tone, texture and In dreams, said W. B. Yeats, begin responsibilities. Garbarek heard the Afro-American Lorca, forms fuse themselves time. Over the near-forty years that have passed between master’s Countdown on Norwegian ‘in a longing greater than their ‘Walkin’ was recorded at a jazz festival, just over a ‘Walkin’ and ‘A tale begun’,there radio, that first opened up the world visible expression.’1 decade after the classic recording by and has been much talk in both the of music for the young Norwegian It is natural to associate Horace Silver, and it sounds like music press and academia and sent him towards that very spe- Lorca’s words, first and foremost, the kind of music you would about the theme of music and cial path he has since carved out in music. As I argue in with the art of such fellow coun- expect to hear at such a festival – politics. This is a theme, of my 1998 study of the saxophonist, this is a path shot trymen as Pablo Picasso and Joan Miró, or with a jazz i.e. pure, swinging jazz. In con- course, which is central to the through with the qualities of Lorca’s deep song. recording such as Miles Davis and ’s 1959 trast, it is very hard to place the history of blues and jazz. One What is ‘deep song’? In June 1922 Lorca gave a lec- Sketches of Spain.However,anyone who knows quietly yet insistently unfolding has only to think of such ture on this question, during an evening’s music and Garbarek’s work well will probably also think of Song four and a half minutes of the med- names as those of Charles discussion at the Alhambra, arranged by Lorca together for Everyone, the wonderful Shankar album to which itation that is ‘A tale begun’ in any Mingus and Langston with the composer Manuel de Falla. The evening was Garbarek contributed in 1984, Making Music, the 1986 particular musical tradition – unless Hughes, Max Roach and dedicated to questioning the increasing commercialism date with , and it be the genre-crossing tradition Archie Shepp – or recall how which they both felt was threatening the development John McLaughlin, and Madar from 1992, where that Garbarek has created himself, intolerable jazz of contemporary flamenco. In his lecture, Lorca saw Tunisian oud master and Asian per- with tracks like the intensely com- that development in relation to the original and unpol- cussionist Shaukat Hussain joined Garbarek to create pressed, serially inflected and (once luted sources of the music, which he traced back to one of the strongest ‘world music’ albums of recent again) meditative ‘Linje’ (Line) from India. Imbued with ‘the mysterious colour of primor- times. One should remember that Lorca believed that the 1979 (Evening Land) dial ages’,deep song was for Lorca ‘akin to the trilling of ‘Every art and in fact every country is capable of recording with church organist Kjell birds, the song of the rooster and the natural music of duende, angel, and muse.’2 Little if any music of the Johnsen, or part two of the solo forest and mountain … It comes from remote places past forty years has come to exemplify the truth of such ‘Mirror Stone’ on the 1988 Legend of the Seven Dreams and crosses the graveyard of the years and the fronds of a remark as strikingly as has that created by Jan coming immediately to mind here. Similarly, as the parched winds. It comes from the first sob and the first Garbarek: music where a multiplicity of forms have contemporary composer and writer Maxwell Steer kiss.’ As such, deep song was intimately related to been fused in what one might call a ‘longing greater observed to me recently, during an afternoon’s discus- Lorca’s understanding of what he called the duende. than their audible expression.’ sion about recent aspects of Garbarek’s work, it is diffi- By this Lorca meant something that was neither No matter how broad-based his mature aesthetic cult to imagine exactly where such music as ‘A tale angel nor muse, but rather ‘the spirit of the earth’, may be, Garbarek has always stressed how important begun’ might best be played and heard live. Certainly it something ‘roused in the very cells of the blood.’ the fundament of jazz has been to him. The young is hard to imagine the piece being played in a large con- An untranslatable term, the duende conjures the inten- Garbarek was fortunate enough to work with the fine cert hall. It seems, rather, music which resonates best sity of ‘dark sounds’, emissaries both of death and an Norwegian jazz singer , and – like her – took within the intimacy of one’s own inner space, and as expansive and transformative sense of wonder. In ‘ten- much initial inspiration from such diverse contempo- such best heard at home, perhaps on headphones. der intimacy’ our duende-touched souls encounter rary masters of the jazz tradition as John Coltrane,

62 www.fourthdoor.co.uk www.fourthdoor.co.uk 63 MARGINS OF MUSIC MARGINS OF MUSIC

Miles Davis and . He played with the last- rooted or relatively ‘local’ harmonic ideas with more and depth of an approach to 2001 Eight Seasons named, one of the very first ‘world music’ musicians of ‘outer-directed’ impulses of scalar transformations and music which was first release. Here, Garbarek’s jazz, in in 1967, an historic meeting documented a chromatic breadth of line – had an enormous impact sparked off by that chance now stomping and earth- only by a private Oslo recording. Also of crucial inter- on the young Garbarek. In the sleeve-note which he encounter with Coltrane, deep, now keeningly high- est were Coleman Hawkins and Ben Webster, Archie wrote to accompany his provocative 1960 recording before then being encour- register and spiritually Shepp, Albert Ayler and Pharoah Sanders, Chu Berry Jazz In The Space Age,Russell already anticipates – aged to burn with palpable questing tenor sets the hairs and Johnny Hodges, with the lyricism of the last- abstractly but precisely – the kind of contribution that poetic intensity through on the back of the neck on named remaining of signal consequence throughout Garbarek would soon be making to an expanded and his crucial apprentice end as only a shaman of con- Garbarek’s development as a musician. Lyricism was expansive field of creative, jazz-inflected music. years with Russell. It is temporary music can. also the key factor when the young Norwegian heard ‘Jazz is changing; the 60s could well be a crucial worth remembering that To speak of Jan Garbarek Keith Jarrett play for the first time, in Stockholm in decade’ wrote Russell. ‘One thing is for certain’,he con- one of the last dates that as a shaman – or visionary 1966. (The Stockholm-based tenorist tinued. ‘A variety of sounds and rhythms, many of Garbarek and his fellow was also an early favourite of Garbarek’s.) which are alien to what audiences are used to, will find Norwegians played live It became a kind of unspoken goal of Garbarek’s to their way into jazz … Progress is inevitable. Today’s with Russell was called play with the pianist, which he was eventually to do on musical palette is just not adequate. ALL feelings rela- (after Rilke) Listen to the now-classic mid-1970s ECM studio albums tive to life and beauty cannot be validly expressed with the Silence. Belonging and My Song,with the contemporary techniques now in vogue. What is more, jazz is an The haunting, dream-charged documenting his interpretation of evolving art; it is not meant to be restricted. The very blend of rhythmic power and lapidary meditation Jarrett’s questing writing for string orchestra, and the nature of the music and its history indicate this. The that is Garbarek’s current signature has drawn upon – late-1970s and offering jazz music of the future? What will it be like? Well, the and refashioned – sources as diverse as minor-hued coruscating live documentation of the Belonging quar- techniques are going to get more complex, and it will be cattle calls and major-keyed Sami joiks,Slavic bi- tet of Jarrett and Garbarek, Swedish bassist Palle a challenge for the composer to master the techniques tonality and Balinese pentatonic scales, Pakistani ragas Danielsson and Garbarek’s long-time Norwegian asso- and yet preserve his intuitive approach. And it will be a and Brazilian polyrhythms, European serialism and ciate, the dynamically sensitive and bar-slipping drum- challenge for the improviser to master these techniques Arabic modes, and both pre- and post- mer . and also preserve the intuitive, earthy dignity of jazz. and Renaissance polyphony. He has played and Garbarek had been in Stockholm that special night Specifically, it’s going to be a pan-rhythmic, pan-tonal recorded with many of the finest musicians in both in 1966 in order to play a gig with George Russell, the age. I think that jazz will bypass atonality [i.e. music Nordic/European and American contemporary jazz, superb pianist, arranger and composer who had heard which has no ‘gravitational’ relation to any of the scales from the aforementioned Karin Krog, , Garbarek and Christensen at the Molde Jazz Festival in or key centres – most simply, for example, C major and Arild Andersen and Jon Christensen to Niels-Henning 1965, recognised their potential and invited them – its relative scale A minor – which have long held Ørsted Pedersen and Bobo Stenson, and along with two fellow Norwegians, bassist Arild together the structures of expression available within Keith Jarrett, Eberhard Weber and Palle Danielsson, healer – is to make a large claim for his music. But I Andersen and guitarist Terje Rypdal – to play with him Western tempered sound] because jazz actually has its Gary Peacock and Charlie Haden, Tomasz Stanko and think such a claim is fully justified. The title of that first on a regular basis. A few years later, at the beginning of roots in folk music, and folk music is scale-based Miroslav Vitous, and , Bill track on the 2001 Mari Boine album is I Come From the 1970s, Russell would describe Garbarek as ‘the most music; and atonality negates the scale. I think jazz will Frisell and , and Kenny The Other Side.In an era which has seen all too much original voice in European and Scandinavian jazz since be intensely chromatic; but you can be chromatic and Wheeler, Michael DiPasqua and , Jack dispiriting evidence of man’s seemingly endless capac- ’. In the 1990s, when I asked Russell not atonal. The answer, Russell concluded, ‘seems to lie DeJohnette and . ity to drive himself destructively into one fundamental- how he would summarise what Garbarek had achieved in pan-tonality. The basic folk nature of the scales is At the same time, Garbarek has played and ist – or rather, fanatical – cul-de-sac after another, the since, his answer was carefully weighed, but immediate: preserved, and yet, because you can be in any number recorded with such ‘non-jazz’ musicians from around music of Jan Garbarek is vital evidence of the capacity ‘Jan plays the Himalayas, that’s how I would put it. It’s of tonalities at once and/or sequentially, it also creates a the world as and , of the human heart to take another path: to reach out a big, big concept of music that he has.’ very chromatic kind of feeling, so that it’s sort of like Shankar, and Zakir Hussain, Egberto to others, to journey deeply both inwards and out- Russell was himself a crucial early catalyst in the being atonal with a Big Bill Broonzy sound.’ Gismonti and Paul Giger, and The wards, in quest of an essentially poetic approach to the development of such a concept. His theoretical treatise The various recordings which Garbarek made with Hilliard Ensemble, Anouar Brahem Ustad Fateh Ali mystery that is life here on Earth. It is hardly coinci- The Lydian Chromatic Concept of Tonal Organisation – Russell, such as the 1969 Electronic Sonata for Souls Khan, and Bulgaria’s Angelite Choir, with whom he dental that, apart from music (where his personal essentially a non-directive treatise on how the impro- Loved by Nature or the 1970 Trip To Prillarguri – both appeared on Norwegian TV in 1996. Then there are his favourites include the late Japanese composer Toru vising musician might think of combining tonally live sessions – are excellent enough in themselves, as is various (non-ECM) collaborations with the Taoist- Takemitsu) some of Garbarek’s chief elective affinities the 1969 studio date The , the Flying touched Norwegian poet (one of which, lie in the fields of painting, poetry and film, with Dutchman recording (with an appreciative sleevenote the 1977 Ingentings Bjeller – Nothing’s Bells – is an Norwegian painter and printmaker Frans Widerberg, by the esteemed American jazz critic Nat Hentoff) with absolute classic of the entire Garbarek discography, fea- Swedish poet Tomas Tranströmer and Russian film- which Russell introduced the Jan Garbarek Quartet of turing the famous Garbarek/Stenson quartet of the maker Andrei Tarkovsky all of special interest to him. the leader, Rypdal, Andersen and Christensen to an 1970s) and his contributions to a range of contempo- As I argued in my 1992 Dreaming With Open Eyes,each American audience for the first time. But it is rary ECM New Series albums of ‘classical’ music from of these figures is of major shamanic importance to the Garbarek’s subsequent work on ECM – beginning with composers such as Gya Kancheli and Tigran arts today. the 1970 (with the same personnel Mansurian, plus, for an example of how broad-based So, does the shaman Jan Garbarek still play jazz? as on Esoteric Circle) and continuing up to today an approach he continues to exhibit, his outstanding, One only has to listen to the current Jan Garbarek through appearances on well over fifty ECM releases – rhythmically forceful contribution to the opening track Group in fully energised flow, or hear the range of that reveals the full fruits of the increasing breadth on the latest record from Sami singer Mari Boine, the colour and lines Garbarek supplied on Czech bassist

www.fourthdoor.co.uk www.fourthdoor.co.uk 65 MARGINS OF MUSIC

Miroslav Vitous’s recent outstanding ECM recording have flowed out around the entire world. It came as lit- (in the company of Chick tle surprise to me that in Branford Marsalis’s recent Corea, John McLaughlin and Jack DeJohnette) to see Channel 4 film It’s A Jazz Thing Garbarek rated barely a how redundant such a question is. And one has only to minute’s mention from an American who seemed sur- consider the deeper resonance of the entire spectrum of prised to learn that there had been a rich recent history jazz history to see that any attempt to offer an answer to of jazz in France, let alone Norway. Equally, however, it such a question in merely stylistic terms would be sim- came as no surprise to me that, when I spoke to the ply to miss the point of the music which, as Sonny great Tunisian oud player and singer Dhafe Youssef Rollins has said, often means: no barriers. recently, after a superb, jazz-inflected but also wide- Child of a century which, more than any other, open concert which he gave with some of the finest of revealed the bottomless depths of the viciousness of the current crop of post-Garbarek Norwegian musi- which humanity is capable, jazz speaks of hope: the cians (including the intensely poetic trumpeter Arve hope that we might yet learn to live with both ourselves Henriksen), Youssef revealed that one of his very and others, free of fanaticism and fear; the hope that we favourite musicians today is Jan Garbarek. Whatever we might yet transform the divisiveness of falsely politi- may wish to call the music of Jan Garbarek, long may cised (or racist) consciousness into the healing whole- this gently spoken giant of contemporary jazz continue ness of a broad-based poetic sensibility; the hope that, to weave his dreams of the deep song. wanderers on Earth as we are, we might yet sing the loneliness of existence into the pure joy – the ecstasy – of being. 1‘Theory and Function of the Duende’ in Lorca,Penguin 1967. We should count ourselves fortunate indeed to be 2 Deep Song and Other Prose,Marion Boyars, 1980. living at a time which has seen the emergence of a musician of the many qualities of Jan Garbarek: quali- ties which resonate with equal conviction in both the Michael Tucker is Professor of Poetics at Brighton public domain of the concert hall and the privacy of University, author of Dreaming with Open Eyes and one’s own head-space. These essentially poetic qualities the Jan Garbarek biography Deep Song

Michael Tucker’s selected ECM ECM 1200 Ten non-ECM albums Discography: Forty-five albums Voice From The Past: Paradigm Karin Krog Jubilee: The Best of Thirty all under Garbarek’s name, at least ECM 1210 (Gary Peacock) Years Verve 523 716-2 in part, except where noted Cycles ECM 1219 (David Darling) George Russell Othello Ballet Suite Soul Paths, Prints ECM 1223 Afric Pepperbird ECM 1007 Note 121 014-2 Wayfarer ECM 1259 Sart ECM 1015 Jan Garbarek Til Vigdis (To Vigdis) Song For Everyone ECM 1286 (Shankar) Terje Rypdal ECM 1016 Norsk Jazzforbund NJF LP1 Chorus ECM 1288 (Eberhard Weber) Triptykon ECM 1029 George Russell Electronic Sonata For It’s OK To Listen To The Grey Voice Red Lanta ECM 1038 Souls Loved By Nature Soul Note ECM 1294 Witchi-Tai-To ECM 1041 121034-2 All Those Born With Wings ECM 1324 Luminessence ECM 1049 George Russell Presents the Esoteric Making Music ECM 1349 (Zakir Hussain) Belonging ECM 1050 (Keith Jarrett) Circle Freedom FCD 41031 Legend of the Seven Dreams ECM 1381 Solstice ECM 1060 (Ralph Towner) Jan Erik Vold Hav (Ocean) Philips Rosensfole ECM 1402 ECM 1075 657 002 ECM 1442 ECM 1070 (Keith Jarrett) Torgrim Sollid/Erling Aksdal Jr. ECM 1419 Dis ECM 1093 Østerdalsmusikk MAI 7510 Star ECM 1444 ECM 1102 () Jan Erik Vold Ingentings Bjeller Atmos ECM 1475 My Song ECM 1115 (Keith Jarrett) (Nothing’s Bells) Pan PACD 09 Madar ECM 1515 Places ECM 1118 Niels-Henning Ørsted Pedersen ECM 1500 Of Mist and Melting ECM 1120 (Bill Uncharted Land Pladecompagniet Officium ECM New Series 1525 Connors) PCCD 8045 ECM 1585 Photo With … ECM 1135 Mari Boine Eight Seasons Universal Rites ECM 1685/6 Magico ECM 1151 017 019-2 Mnemosyne ECM New Series 1700/1 Folk Songs ECM 1170 Universal Syncopations ECM 1863 Aftenland ECM 1169 (Miroslav Vitous) Personal Mountains ECM 1382 (Keith In Praise of Dreams ECM 1880 Jarrett)

66 www.fourthdoor.co.uk