Carmel Rodney Whitaker is a sought-after bassist extraordinaire and a pre-eminent jazz educator. On his latest project, “Mosaic: The Music of Gregg Hill” (Origin Records, 2025), Whitaker and his vibrant working band breathe life into Hill’s idiosyncratic compositions, crafting an album brimming with fiery interplay, deep swing, and a forward-thinking sense of adventure.

From the outset, the title track, “Mosaic,” draws listeners in with its lush voicings shaped by juxtaposing silence with shimmering patterns of harmonic movement. This grand opening sets the stage for the ensemble’s fluid creativity. Whitaker’s bass signals the next section with his robust basslines setting up the swing time feel. Terell Stafford’s soaring trumpet lines and Tim Warfield’s soprano saxophone perform the compelling melody. Stafford, Warfield, and pianist Rick Roe express solos over the deep swing pocket of Whitaker and drummer Dana Hall. Throughout, Whitaker anchors the band with a steady yet dynamic pulse and his deep connection to Hill’s compositions.

“Unknown Ballade” features Rockelle Whitaker’s soulful vocals that imbue the sensual groove with warmth and power. Her gripping performance of the melody that crescendos into a climactic resolution is impressive. Hill’s writing mixes post-bop structures for the ensemble to explore. This harmonic framework is especially effective in providing interesting pathways of expression during the solo sections. Equally striking is “Claxilever,” where Stafford and Warfield channel the exuberance of hard-bop captured in Hill’s catchy writing and the ensemble’s buoyant swing camaraderie. Stafford’s, Warfield’s, Roe’s, and Whitaker’s improvisations are emotive and musical, with the rhythm section’s earthy swing feel grounding the adventurous explorations. The trading between the ensemble and Hall is outstanding.

Other highlights include “Katie’s Tune,” which blends Afro-Cuban rhythms with a waltz-like feel, showcasing Hill’s skillful integration of cross-cultural influences. Whitaker and his ensemble bring these elements to life, delivering a cohesive modern jazz voice that amplifies the music’s expressive truths. On “Sloe Gin Fizz,” the ensemble reaches its hard-swinging zenith, with Hill’s composition delivering a poetic melody and setting for exploration. Whitaker’s jazz blues solo seamlessly transitions into Stafford’s. Warfield’s improvisation builds to Rick Roe’s inventive piano improvisation. The trading section’s interplay here epitomizes the art of interactive jazz performance.

“Mosaic: The Music of Gregg Hill” reflects how jazz remains a living, breathing art form, deeply rooted in historical contexts that can be expressed upon. Hill’s compositions draw from the genre’s storied past, reflecting the subtle influences of specific era’s harmonic and rhythmic textures. Tracks like “Sloe Gin Fizz” evoke a 1950s jazz vibe with intricate, eighth-note-based melodies reminiscent of the bebop era, while “Katie’s Tune” radiates the rhythmic energy of Latin jazz fused with modern jazz vitality. By incorporating these historical and stylistic markers, Hill creates a distinctive space for Whitaker and his ensemble to explore, amplifying the authenticity and depth of each piece. Whitaker’s grounding in jazz’s tradition adds his vision for expression as he brings his arranging voice to create a dynamic interplay.

This blend of historical reverence and forward-thinking artistry is at the heart of “Mosaic: The Music of Gregg Hill.” Hill’s ability to balance intricate, note-specific melodies with expansive, chordal frameworks creates a platform for passionate exploration, inspiring Whitaker and his ensemble to deliver performances imbued with precision and emotional resonance. “Mosaic: The Music of Gregg Hill” is a celebration of jazz’s enduring vitality, inviting listeners to journey through its layered artistry and musical sense of place.

js Although “A Brand New State” is bassist Alex McLaughlin’s first album as a leader, he is hardly new to the jazz scene. Some artists he has worked with include Arturo Sandoval, Kurt Elling, Matt Wilson and even comedian Sandra Bernhard. Alex’s reputation has to be strong because he was able to pull in some A-listers for help, including Tina Raymond on drums and Jeremy Siskind on piano, but probably the most well known name on here is Jeremy Pelt on trumpet. The influence of Miles’ mid 60s quintet is heavy on this outing, which could be said about many modern post bop albums, but Alex and his crew do a better job than most when it comes to matching the open-ended approach of the Davis band. Much like Miles, Alex and his band mates don’t necessarily mark steady time, instead, the drums are part of the ongoing musical conversation and the rhythm tends to ebb and flow with the soloists. Likewise, chord changes are not always adhered to strictly, as the players pick and choose notes with a certain understood freedom. This is a very conversational band that listens intently to each other.

The music is today’s post bop with fusion influences and an overall abstract approach. On “Trailhead”, the band gets into a sort of jazz-rock heavy rhythm with Jeremy Pelt channeling Freddie Hubbard style aggressive trumpet attacks. Siskind can recall Herbie Hancock at times and this is evident on “Signals” where his laid back soloing is reminiscent of Herbie’s “Speak Like a Child” opus. This number also features Pelt using a mute for more Miles type sounds. On “The Solar Punks”, Siskind gets into some large block descending chords that may remind some of Craig Taborn.

Towards the end of the album, the band gets a little more bluesy and straight ahead with “El Polvo” carrying some Thelonious Monk abrasions as well as some of Siskind’s best piano work on the album. “Trial” continues the hard bop orientation and album closer, “Elevation”, was inspired by Joe Henderson’s “Isotope”.

Carmel They say time heals all wounds, that wine tastes richer with age, and that old jazz records mellow into something unforgettable. In Jeff Rupert's world, "It Gets Better" isn't just a title, it's a mantra that echoes through every note. Rupert has long established himself as a saxophonist with a gift for weaving personality into every phrase. Whether leading his own ensembles or collaborating with icons of the jazz world, Rupert's tenor saxophone voice is unmistakably warm, robust, and expressive.

With "It Gets Better," Rupert offers an album that leans into the timeless language of jazz with inventive hues of modern structures expressed in an expressive rhythmic flow. The result is a journey that starts with swagger, flows through expression, and blooms into exuberance before winding down with a sense of cadential acceptance.

At the heart of "It Gets Better" is a quartet that functions as a true collaborative unit. Joining Rupert is the legendary pianist Kenny Barron, with his elegant touch and harmonic wisdom. Peter Washington's full, resonant bass lines provide a foundation of agility and warmth, while Joe Farnsworth's time-keeping drumming ranges from masterful brushwork to driving swing rhythms.

This hard-bop gem, "Petrichor (in the Cote D'azur)," opens the album with strut. Rupert's warm, expressive tenor delivers the head with an energy that feels like a call to adventure. His solo is created with expressive accents, placing his ideas squarely in the swing time pocket. The rock-solid foundation of Washington and Farnsworth supports Barron's piano solo as his elegance and energy capture your attention. Washington's bass solo is a study in fluidity and precision.

"Comanche Crush" is a medium-up Latin groove with seamless transitions that keep things fresh. Farnsworth's cymbal patterns shimmer, and the Latin-to-swing shift is executed with flair. Barron's solo takes off with rhythmic crosscurrents that ripple across the time feel. Rupert's solo is alive with lines that twist deftly through the changes, landing beautifully resolved ideas that add melodic suspense and satisfaction.

Here's where the blues takes center stage, "Lana Turner," a slow-medium traditional jazz form with a timeless feel. Rupert leans into the blues and swing jazz vocabulary with sweet vibrato and glissandos that echo the masters. Barron's solo brings in modern pentatonic flashes and clever substitutions, while Washington and Farnsworth lock in like a finely tuned engine, listening intently and responding with rhythmic finesse.

"It Gets Better" is set to a medium swing feel that thrives on interaction and groove. The catchy bass line and head create a platform for Rupert's flowing, legato phrasing. Farnsworth's brushwork is a standout, and when he switches to sticks midway through Rupert's solo, the energy is built to a thrilling climax. Overall, the subtle crescendos of dynamics underscore the quartet's collective performance and ensemble synergy.

A slow, moody exploration framed by a hypnotic rhythmic figure is the setting for "Pharoah's Daughter." For the solo section, Rupert's modal vocabulary is in full effect—his intervals and motifs are methodically developed, adding intrigue, and his articulations add emotional weight. Barron's piano accompaniment glues the harmony together with precision, while Washington anchors the shifts between the repetitive groove and swing passages with a resonant, woody tone.

This classic "Like Someone in Love" gets a fresh trio treatment—tenor, bass, and drums. Rupert's lyrical expression of the melody is filled with turns and embellishments. Washington's solo is melodic and grounded, showcasing his harmonic awareness, while Farnsworth's snare comping drives the trio forward with crisp, articulate phrasing. The fours between Rupert and Farnsworth unfold like a friendly sparring session—each phrase escalating the dialogue with wit and precision.

A modern Latin selection called "Nowhere to Go But Up" dances between feels before settling into a driving 6/4 swing waltz. Barron's rhythmic vitality in the waltz is infectious, creating playful tension with his two-against-three phrasing. Rupert's solo snakes through the harmony with bluesy inflections and striking intervallic leaps, each phrase reinforcing the rhythmic pocket while maintaining clarity of emotional intent.

"Not My Blues" is an up-tempo post-bop blues where the quartet's chemistry soars. Rupert's swing feel is impeccable as he locks into the buoyant rhythm section. Barron's voicings sparkle with harmonic clarity and rhythmic exuberance, while his ideas practically leap out of the piano in a way that feels as joyful as it is sophisticated. The ensemble's lively interplay makes this track an instant highlight.

The closer, "Promenade in Blue," is an exquisite ballad that starts with a relaxed sax-piano duet. Rupert's bends and falls add a touch of vulnerability and elegance. When Washington and Farnsworth join at the bridge, the texture deepens without overpowering the mood. Washington's lyrical solo reinforces the song's introspective beauty, and the composition gently winds down, closing the album with grace.

Throughout the album, there is a theme reflecting Barron's inventive phrasing, Washington's lyrical sense of time, and Rupert's expressive melodies, while Farnsworth adds rhythmic propulsion that gives the music a sense of direction. Together, this ensemble breathes life into every melody, rhythm, and improvisational exchange, delivering an album that thrives on spontaneity and impeccable communication.

Jeff Rupert and his ensemble offer a blend of hard bop, blues, and balladry, all delivered within an ensemble that brings forth emotional nuances. This is an album of journies where the improvisations feel organic, the ensemble interplay is sharp, and the production captures every nuance. "It Gets Better" is as much a lesson in ensemble communication as it is a heartfelt homage to jazz tradition.

Carmel Kenny Barron’s “Beyond This Place” is the real deal class in its modern jazz storytelling. The album features various ensembles showcasing Barron’s ability to shape harmonic landscapes and foster musical interactions. Released on May 10, 2024, by Artwork / PIAS, the album offers a mix of styles that speaks to Barron’s enduring artistry and piano expression.

The album opens with Barron’s elegant solo piano introduction, setting the mood for “The Nearness of You.” The ensemble’s performance is steeped in the warmth of the jazz tradition. Saxophonist Immanuel Wilkins’ rendition of the melody is expressive. Kiyoshi Kitagawa’s bass and Johnathan Blake’s drums enter, the bridge gains momentum, with Wilkins’ upper-register phrasing soaring above the rhythmic support. Barron’s solo captures a rich chemistry between the piano, bass, and drums, weaving agile melodic lines that balance grace and activity.

“Scratch” is an up-tempo swing that kicks off with Kitagawa and Blake locking in to create the pocket. Nelson, Wilkins, and Barron present the angular melody with precision, forming a cohesive front line. The solo section unfolds as a lively conversation, where the musicians pass the improvisational baton with a sense of playful interplay. Steve Nelson’s vibraphone solo is striking in its blending of rhythmic drive with vivid harmonic colors. Barron’s solo contrasts movement and stillness, flowing fluidly yet embracing moments of rugged phrasing that add rhythmic depth.

With its straight-eighth feel and subtle Latin undertones, “Innocence” paints a beautiful sonic portrait. The interplay between piano, vibraphone, and alto saxophone casts an ethereal hue over the flowing melody. Blake’s drumming is expressive and anchors the piece with a groove that propels yet never overpowers. Barron’s solo is a dazzling showcase of wide, multi-octave arpeggios that provide energy and uplift, a testament to his boundless technique and creativity.

“Blues on Stratford Road” is a medium-swing tune laced with New Orleans overtones. Nelson’s solo is a standout moment, brimming with passion and rich note choices that tell their story. The ensemble captures the essence of a hard-swinging style that mixes the swing of a gospel celebratory spirit.

“Tragic Magic” is a hard-bop gem defined by its driving swing feel, sharp ensemble hits, and well-crafted form. Wilkins’ solo exemplifies his ability to blend modern intervallic ideas with bebop-inspired embellishments, showcasing his expressive and technically fluid approach.

A spirited trio excursion of “Softly As in a Morning Sunrise” highlights Barron’s genius in a pared-down setting. His approach layers a moving melodic line in the lower register, intricate harmonic movement in the midrange, and fluid, expressive solo lines in the upper register. The trio’s synergy is palpable, with Blake’s drumming adding dynamic support and textural variety.

“Beyond This Place” captures Kenny Barron balancing introspection and exuberance across a thoughtfully curated set. Each ensemble has a defined cohesion that elevates the recording, making it a testament to Barron’s legacy as a consummate bandleader and performer.

snobb New York-based jazz/R'n'B singer José James's newest album, "1978" (his birth year), is a beautiful and elegant tribute to the music of his childhood. Containing all originals, the album can recall RnB sounds from the 60s and 70s, but it also has vibes that place it clearly in 2024.

The opener "Let's Get It" contains a string quartet and is a hypnotic aerial and percussive piece with a groove and vibe that may remind some of Al Green's laid back work for Stax. “Isis & Osiris” is a repetitive soul piece, sensitive and of fragile atmosphere. “Planet Nine” is funky, but still elegant, with a catchy tune. “Saturday Night (Need You Now)” is danceable and sexy,

"Black Orpheus (Don't Look Back)" is another in the Al Green direction and contains background vocals and beautiful guitar solos. "Dark Side Of The Sun" is a song with a more contemporary sound, it combines organically soul from the 70s with synth arrangements and Belgium-based poet Baloji rapping. "Place Of Worship" is a standalone piece based on international beats and containing Brazilian singer Xênia França vocals, besides José James' own.

"For Trayvon" is a ballade tribute to Trayvon Martin, with sensitive James' vocals over piano and strings. It is a beautiful and memorable melody as well. The closer, "38th & Chicago", contains Afro-Cuban percussion (from Pedrito Martinez) and another guitarist, Marcus Machado, with a lengthy solo.

The music, which connects past and present imperceptibly, may not be the most innovative, but probably the most beautiful album of this genre in the year 2024.

Moshkiae Jan Garbarek Ragas and Sagas 1992

With Ustad Fateh Khan (voice), Shaukat Hussain (tablas), Nazim Ali Khan (sarangi), Deepika Thathaal (voice) and Manu Katche (drums).

This is the area where a lot of Jan Garbarek's work fits really well ... as a raga, or as the definition describes it, some kind of framework for the improvisation to take place, and end up creating some music. One might even suggest that the opening parts are to be a part of the whole thing later, together as one piece. You don't exactly get that here on this album as the pieces are all well defined and put together, even if it is all improvisation, which I think it is ... though I'm not used to these things in a foreign language of music, which a lot of the different things out there in the middle east and far east of this world, certainly are, and not exactly appreciated in Western circles of the arts.

I don't think I can describe the different 5 pieces of music, which ought to tell you how acquainted I am with a lot of foreign music, though I probably listen to more of it than most folks that tend to stay with the more familiar things on radio and disk, that are listed in many publications, for example.

This is an album to be listened to, and not ... discussed, is just about all I can say, and the idea that Jan Garbarek can fit himself into and with these folks, is rather neat and special ... it's rare that you see such socializing in the arts, although I would think that Jan Garbarek's touch in the music is much more suited for these kinds of things than the metronomic nothings in so much rock music and even jazz out there. And Ustad Fateh Khan's vocal abilities are indeed special and rather amazing, even as you might think that during a moment in the RAGA II piece his voice is synthesized, but nope ... it is clear that it is not ... but sure grabs how we have come to listen and identify things in music ... until one day, we hear something that is not what we think ... I have to say ... far out!

Very nice work and special in its own way ... and the saxophone excursions do not exactly feel over done here since this is the point in a lot of this style of music in the East ... it's what made the Ragas famous, even though our ideas of what a Raga is, is very different ... but it's safe to state that the process in rock and jazz do not exactly allow for things to be this open and non-stop ... too much of the westernized music in the past 60 years has been centered on the "song" idea, and this is something that is not a part of the Raga ... I was once told that if a Raga was under an hour, it was no Raga ... and that ought to give yo an idea of the limitations that go home in these pieces ... and it becomes wide open to the interpretation in our Western minds, that don't know this music intimately, and in this case Jan Garbarek seems to have very little to hang on to, other than some vocal moments that are likely pre-defined that help Jan Garbarek add something to the whole piece. A good example, would be the Raga III piece.

A special album, and something that only ECM ever did, allow for its folks to do a lot of work on their own, and sometimes it worked and others it sound more conventional, but at moments like this one in this album the whole thing just goes somewhere that we can nt exactly define and experience ... but might become clearer as we listen to these things more and more.

NOTE: If you are into "jazz", this album is not for you, I don't think. If you are into the experiment of hos a jazz player can mix and match with something else, then this album is outstanding in that idea and comes though shining brightly. A wonderful touch ... and I might even say a rare touch!

Moshkiae Jan Garbarek All Those Born With Wings 1987

Sometimes, reviewing an album is difficult ... and sometimes, I can see why some folks would rather an album fit something or other so it would be easier to say something about it ... and guess what we have here? What is it? Where does it fit?

Jan Garbarek plays all the instruments in this album, and if anything is special here it is that the whole thing is really quiet and all of these are simply named First through Sixth Pieces ... with the "Third Piece" being a dirge, if we are taking the hint from the album notes.

I will likely suggest that anyone listening to this album, do not expect to get "jazz" in many of the styles and forms that we are used to. Like many albums of his in this period, which I call "middle period", they are about moods and thoughts that arise from a piece of music ... and it is very clear and obvious that the idea here is the illumanation of the idea and visual that drives the music ... and thus, it never falls into any kind of idealistic form of jazz or attitude ... I think the only thing here, in this album is that the piece live on its own and sound nice at the same time ... no need to worry about the nice part ... all of these pieces stand up nicely ... with that third piece being the one that is most obvious as to what it tries to make us think.

One of the pieces that stands out the most is probably the longest one in this album, called "Fifth Piece" and it is the one where Han Garbarek drives his saxophone the most, but remember that he is also playing the guitar here, and anything elsse that is needed for his piece of music ... it feels adventurous, as the piece develops and we might even consider "strange", waiting for the saxophone, and where it is going, though I'm not sure that it matters, if you simply close your eyes and follow along, which is what this album is really all about,

I want to caution as to the ideas and thoughts regarding this album and what/where the music is supposed to be taking us, which I am inclined to believe is not a part of Jan Garbarek's intent on this album at all, and he might be trying to do some things (witness the later parts of the saxophone in the 5th piece) that appeal to him, but would not necessarily fit a group or a designed piece of music for various players ... I think his relief here is that he doesn't have to worry about anyone else, and he can try different things all around, and I suppose that we could say some work, and some don't ... but in all honesty, it will probably be a rarity that yo get a "jazz" album that lives like this one does ... if it doesn't stretch what jazz is, then, our imaginations are lost and not able to appreciate music, like they say art for art's sakes, though I'm not sure that I would ever think of Jan Garbarek as that kind of player at all ... maybe in his early days, but from the sound of these pieces, I think there is an idea ... about coloring music, that jazz usually gives up on when it begins the timing and the drumming ... just like its cousin rock music does ... always tied to the time keeping, and then having to use lyrics to convince us of its ideas ... the worst idea of all when it comes to these things, since at any given time, you and I would think something else.

A wonderful album ... difficult to describe ... but just think of it as a quiet night in the middle of nowhere, trying to find who and what you are, instead of thinking you and I already know all this and don't need to hear about it anymore. The arts are about waking up the imagination, not regurgitating the ideas and imagination like a lot of lyrics do in rock music, something I really like about most jazz ... let the music fly, with or without wings, and that might just be what all this is about. A well defined title for this album.

Very very nice album ... and special in its own way. A rare treat regardless of where folks place this album, but it might be best to say ... this is not jazz ... this is a sort of thoughts from the universe somewhere.

Moshkiae No Caipira Egberto Gismonti 1978

NOTE: Listing on the CD Reissue is not the same as the album.

Saudacoes No Caipira & Zabumba Noca & Garrafas Pira $ Bambuzai Palacio de Pinturas Maracatu & Sapo/Queimada & Grillo Frevo Esquenta Muie & Banda de Pifanos Frevo Rasgado Sertao Brasileiro Selva Amazonica (Homenagem a Villa Lobos) Uana Lua & Kalimbas Cancao da Espera Danca Das Sombras

This album tracks non-stop and the pieces are linked some ... and the best part of it, is that ... it fits and you go along for an incredible ride of images and sounds ... it's non stop and sometimes exhausting, because it is so much and so strong ... and ... of course, so beautiful.

Of all the albums by Egberto Gismonti that I have heard, this is the one that is less "jazz" or his usual ... welcome to my musical excursion to somewhere and nowhere at the same time specially in the early albums when he is solo.

Right away after the opening, the only piece that is familiar for us, in that it is a nice piece of what we might almost call pop music, the album takes off in what we should really think is some kind of classical music, and later Egberto plays a piece that is dedicated to Villa Lobos, but in my mind this is the best Stravinsky ever ... and the images, are never going to fail you ... Palacio de Pinturas ... stands out as creating an image of a forest that feels like it is long gone, these days, with the incredible rape of the Amazon Forest. It is a sad piece, but somehow it makes us want to listen to a lot more ... I'm not sure I have ever heard a "jazz" musician do classical music so originally as this ... this is pure music at its best ... and is an incredible achievement. And it concludes with a bit of piano that is so soft ... and is the opening of the next piece ... you get a bit of "jazz" with a saxophone, but it is not the showcase solo style of playing by anyone here ... it is a part of the musical piece ... and one that is not always found in any jazz out there.

Frevo is the beginning of the next section of this album ... and it is a flute driven jazz piece, classically composed, instead of a jazz feeling where the plays are everywhere somewhere else, but here you can see what it might be like when you get a classical musician do some jazz ... and it is better than so much jazz, because it doesn't feel "empty" or that it is not going anywhere ... you know that this is some incredible music, and you can't help feeling ... where is this going? ... and you want to listen to a lot more ... and goodness ... it delivers beautifully!

Esquenta Muie & Banda de Pifanos feels like a piece taken out of the natives in the forest ... and only becomes something else when the flute solos along the piece ... and gives it up to a piano that will floor your imagination ... and now we get something of a jazzy definition, but (again) it flows so differently and much more like classical music ... that all you can think is ... wow ... what next?

Sertao Brasileiro is a classical piece coming out of the previous piece. It leads into a piece that is said to be dedicated to Villa Lobos, the Brazilian classical composer.

The final piece, Danca Das Sombras is the special piece of all ... a classical piece all the way also featuring some of the jazz instruments ... it is some kind of a soundtrack for an imaginary film (title translates to Dance of the Shadows) and it has some strange bits and pieces fit into the complete piece ... adding a very different touch to anything that you thought jazz was ... this is very special classical defined and designed music for many of us ... and how it is played and done is magnificent ... something that you would want to see ... so on the way out you do not have many words for it, but it is like you are trying to find how you felt through so many parts of it ... it took you to many places!

There aren't many albums that fuse things so beautifully and come up with something really special ... and NO CAIPIRA is one such album ... it might not be Egberto's best selling album, but musically, it is an incredible piece ... and something that not many folks have the imagination to do ... in my book one of the most special albums I have ever heard, and loved dearly!

js This review is based on the original vinyl LP version of the soundtrack to the French film L' Ascenseur Pour I' Echafaud, featuring a French jazz trio augmented by Miles and US drummer Kenny Clarke. The understated jazz atmospheres on this soundtrack tell a lot about where jazz will be heading in the next five decades. This film music marks the first time that Miles will depart from playing jazz per se and instead finds him using the style as something to objectively manipulate and shape into something more original and personal. In formulating the music for this film, Miles eschewed actual songs and instead wrote bare riffs and repeating chord sequences for him to solo over and build atmosphere.

Not all is pure jazz here as some of the repeating motifs recall Satie and Ravel, as well as almost Indian style drones. Miles' playing over these drones and stark chord sequences is amplified with reverb and given that classic film noir 'jazz man in the back alley' sound that is almost humorous in it's cliché. Likewise the chord changes that Miles uses for the jazz sequences are classic cliché jazz sounds taken from a Disney film with beatnik characters, it's Miles tongue-in-cheek way of cleverly delivering the classic jazz goods that non-jazz fans want from a soundtrack..

This is an excellent album, timeless and beautifully retro like a classic noir film and in many ways, it marks the beginning of a world of innovations that will eventually blossom into cool jazz, fusion, acid jazz, trip-hop and nu jazz.

Moshkiae Jan Garbarek Eventyr 1981

With Nana Vasconcellos and John Abercrombie

Sometimes, I wonder if some of these things are really jazz, even though many of the players are almost exclusively jazz wisened and practiced.

This middle period of Jan Garbarek's is interesting ... not sure you can call it much of anything other than "ambient", as you never really get that feeling that the players are going to break out and jam on their instruments. With Nana Vasconcellos doing his thing on various percussive instruments, and John Abercrombie adding some very light (and beautiful) touches to what Jan Garbarek is doing, and the best part of it ... they keep it going, very smoothly.

This is a special album, for me ... the opening is one of the nicest things I have ever heard and felt ... it has a calling f some sort, and it sounds very lonely, and not quite desperate, but you can feel the emotion with the call. Soria Maria is a Norwegian tale, and even though we might not know what that story is, you get the feeling that you know it some by the piece of music. It's beauty is a bit on the side of the likes of a siren's call in the old greek stories, it has a bit of an inebriated feel to it, or at least a bit on the person being affected if not by stimulants, then by the desire to do what the hero has to do in the story.

It feels like you have been enchanted while listening to it ... forget music ... just close your eyes and see if you can find the visual for it ... I think it gives us the terrain and the majority of the feeling surrounding it. It was, thought of as a "new age" type album, but with all due respect, that is not even a good suggestion in my book. The music here is way and far above a lot of that stuff that was created simply with a name on it to sell, and had not half as much an image as the stuff in this album does.

The whole album is fantastic, and not of the pieces are weaker or not as vivid as any of the others, although none of them have the incredible wake up call that Soria Maria has, which is very strong, and gets stronger as Nana Vasconcellos augments the piece with some of his drums very lightly ... this adds a bit of "distance" to your view of it, but it does not take away from the piece, the story of which has some long voyages.

The title, as it turns out, and I did not know it until I tried to look for a definition just as I am writing this is defined as "a bold or exciting undertaking or experience" ... and well, I think that is all you need to know to enjoy this album of fantastic music. It is a far out experience, and not always something that many of us take on, specially with a soundtrack!!!

The long pieces, (Soria Maria, Eventyr, Once Upon the Time, East of the Sun and West of the Moon) are all the special things here, and just about, all you need to listen to, but please don't do that ... this album deserves a full listen, as the smaller pieces might be thought of as simpler ... with the longer pieces all "a story" and it is my thought that it was Jan Garbarek's idea to tell a story, with the playing, and I think it succeeds well ... most jazz is not about a story ... it is ... here we go, and then each person does their thing and meet up somewhere in the end ... but here, as a piece is coming to an end, you want more ... even though I kinda think that some folks might consider this whole album a bit somber ... a soundtrack for an imaginary story ... a fable from the Norwegian history.

An album worth having, if you are a fan of folks experimenting well and trying to do something different than just play notes and chords a la jazz style ... this is about the mood and its continuation here, that defines this album ... and if you like that ... this is just fine.

Excellent work, and a part of a period of Jan Garbarek, that I think he was looking to see what could be done with jazz that was not so invisible as most jazz playing is, and so tightly based on notes and chords by most players. Hearing this, the first thought of mine ... was .. this is not "jazz" ... and I suppose that this is ambient, with a jazz like bend ... but that might be hard ... since you can close your eyes and this has a movie somewhere.

NOTE: Parts of this album was used in the film "JOURNEY OF HOPE" in 1990 a Swiss/Turkey film, about the plight of many refugees trying to get out of Turkey. The music in the film has Arild Anderson (not sure which album yet), Jan Garbarek and Terje Rypdal (from EOS) ... and it presents Xavier Koller's film with astounding images with various parts of the music, making it look like the music is about the hope that these folks have for a new life. It won an OSCAR for Best Foreign Film the following year.