CD ECM Records Egberto Gismonti / Charlie Haden / Jan Garbarek: Folk Songs
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Jan Garbarek - saxofon sopran si tenor
Charlie Haden - contrabas
Egberto Gismonti - chitara , pian
This scintillating follow-up album to Magico is yet another fine example of ECM’s progressive comings together. Uniting multi-instrumentalist Egberto Gismonti with the instantly recognizable stylings of saxophonist Jan Garbarek and bassist Charlie Haden seems at once a stroke of genius and an inevitable configuration.
A blue “Folk Song” sets the tone for all tender considerations that follow, slowly working its motions into a helix of atmospheres. Gismonti stretches out a gorgeous drawl in “Bôdas De Prata.” Within the open bowl of Garbarek’s cupped tenor, he glows like a firefly. The rhythmic acuity of “Cego Aderaldo” is enough to sustain an otherwise languid album.
Prezentare generala CD ECM Records Egberto Gismonti / Charlie Haden / Jan Garbarek: Folk Songs
1981
Jan Garbarek - saxofoane
Egberto Gismonti - chitara, pian
Charlie Haden - contrabas
ecmreviews.com:
"This scintillating follow-up album to Magico is yet another fine example of ECM’s progressive comings together. Uniting multi-instrumentalist Egberto Gismonti with the instantly recognizable stylings of saxophonist Jan Garbarek and bassist Charlie Haden seems at once a stroke of genius and an inevitable configuration.
A blue “Folk Song” sets the tone for all tender considerations that follow, slowly working its motions into a helix of atmospheres. Gismonti stretches out a gorgeous drawl in “Bôdas De Prata.” Within the open bowl of Garbarek’s cupped tenor, he glows like a firefly. The rhythmic acuity of “Cego Aderaldo” is enough to sustain an otherwise languid album.
There is something special about the 12-string/sax combination here that recalls the label’s Solstice days and pairs beautifully with “Veien,” which gives us the album’s most reactive moments. Gismonti’s perpetuity, Garbarek’s crystalline phrasings, and Haden’s heartening geometries unify, appropriately enough, in “Equilibrista.” This cradle of rolling piano and melodic overlays falls from its bough in a melodious tumble, landing on its feet for the final word, which comes in the form of “For Turiya,” another ballad-like seesaw of piano and bass resting on the fulcrum of Garbarek’s nocturnal whispers."
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