Jan Garbarek: I Took Up The Runes - LP 180g Vinyl

Actually, it really doesn't matter. If I give the nod to Seven Dreams, it's because it first assayed his shift to elegiac folk-jazz and because of "He Came from the North." Yes, "Molde Canticle" is entirely remarkable, perhaps even trumping anything on the former disc from the standpoint of sheer virtuosity. But maybe, just, not quite matching the wide-eyed clarity of ur-folk/jazz vision so amply on display on Seven Dreams. On the other hand, this disc bountifully expands the sound palette, even as it retains the minimalist approach, including, for the first time, long-time collaborator Manu Katche on drums, and an early taste of electronic pioneer, Bugge Wesseltoft, on synth. Plus, it contains perhaps Eberhard Weber's finest recorded bass playing on "Molde Canticle, Part 3." Also, I absolute love how Garbarek so subtly deploys Wesseltoft's synth stylings: They're never obtrusive, always absolutely geared to their proper accompanying role. And his tenor playing on "Molde Canticle, Part 3" seems to me to be his strongest on disc. Another highlight: Vasconcelos's percussion on "Molde Canticle, Part 4," brilliantly integrated into the adventurous soundscape laid down by Garbarek's muscular tenor sax, Katche's extroverted drums, and Weber's declamatory bass. Have I talked myself into this as Garbarek's finest outing? Maybe. But not quite. For one thing, there's too much tenor playing for my taste--a sax I actually prefer, under most circumstances, but falling short of the great concept Garbarek has on soprano. Second, despite the obvious aptness to the proceedings of Ingor Antte Ailu Gaup's voice, it somehow subtly adds an alien element that can't quite be fully integrated into the folk-jazz vibe. (Others may, certainly, disagree, and conclude that this is the crowning achievement of Garbarek's folk-jazz conception.) Third, I think this disc may be a little too long. The title cut, oddly, isn't one of the highpoints, delving, as it seems to me, in faux rather than real mystery, and the last two numbers, "Bueno Hora, Buenos Vientos" and "Rhakki Sruvvis," seem to evoke a vibe already adequately explored. But these are quibbles. This is certainly one of the absolutely finest, if not the very finest, of the many discs in Jan Garbarek's vast canon, one you'll certainly want to avail yourself of, if you haven't already.

Jan Garbarek is a " Favourite " of mine, so I am quite " Biased" towards his recordings. However , his playing is SUBLIME and side players support is excellent. Garbare, never disappoints, ME.

I Took Up the Runes is a unique combination of Norwegian folk music and jazz. Any listeners who find ECM to sometimes get overly introspective will not be yawning here. Garbarek is intense throughout, and as usual, technically brilliant. He's one of the only saxophonists who can simulate a human scream and still make it sound listenable and musical. Rainer Bruninghaus and the great Eberhard Weber are both strong presences on 'I Took Up' and those who like their work under their own names would be advised that their contributions here are just as rewarding as their other recordings.