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Mágico: Carta de amor

Charlie Haden*, Jan Garbarek* & Egberto Gismonti
Discos: Jazz

Disponible

Ficha técnica Discos

Sello	ECM
Estilo	Jazz
Año de grabación	1981
Año de Edición Original	2012
Instrumental
Concierto
Observaciones	2CDs

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Jan Garbarek (saxo tenor, saxo soprano), Egberto Gismonti (guitarras, piano), Charlie Haden (contrabajo)

Grabado "ao vivo" en la sala Amerika Haus, en Munich (Alemania), en abril de 1981.

Tres décadas después de su registro, el prestigioso sello ECM lanza este doble CD con grabaciones inéditas del excepcional trio de fuertes y contrastantes personalidades musicales formado por el saxofonista noruego, el contrabajista estadounidense y el multiinstrumentista brasileño.

Desde los primeros años 70, el sello alemán utilizó la sala muniquesa, especialmente adecuada para la música acústica, para presentar conciertos y realizar grabaciones de sus artistas. Es el caso de este trio, que realizó dos conciertos de presentación de su disco "Mágico" (y ese mismo mes Egberto Gismonti había registrado una sesion de grabación para su disco "Sanfona"), que fueron grabados por el ingeniero de sonido Martin Wieland bajo la supervisión de Manfred Eicher, ahora producido en Oslo, con mezclas de Jan Erik Kongshaug. Auténticamente mágico.

"(...) The trio of saxophonist Jan Garbarek, guitarist/pianist Egberto Gismonti, and bassist Charlie Haden takes the stage in newly restored 1981 performances at Munich’s Amerika Haus, host to such classic recordings as Ralph Towner’s Solo Concert and the Art Ensemble of Chicago’s Urban Bushmen. From their studio work, these three mavericks draw a distinct blend of signatures, while from the two years spent touring prior to this recording they accomplish feats of improvisation that perhaps no studio could have induced or contained.
Bookended by two versions of Gismonti’s title track, a beautiful love letter indeed to the wonders within, Haden’s 16.5-minute tribute to Dolores Ibárruri, “La Pasionaria,” lends substance to the feathers in between. The entrance of bass is as effortless as it is invisible, dropping into the foreground as it does from the line of Garbarek’s ornamental reed. Changing his Liberation Music Orchestra clothing for something more romantic, Haden offers “All That Is Beautiful” (making its first appearance on record), an emotionally epic vehicle for Gismonti, who takes seat at the keyboard and sprinkles it with clouds and weighted dew.
If these are the tire tracks left behind, then “Cego Aderaldo” is the vehicle that left them. Driven by the 12 focused strings of its composer, it keeps us balanced along the album’s craggiest terrain. Here Garbarek does something wondrous as he opens the passenger-side door and jumps over the cliff, spreading burnished metal wings across a landscape that welcomes his flight with thermals galore. Gismonti continues on, spiraling up to the apex. There he plants not a flag of conquest, but seeds of thanksgiving. From the dulcet “Branquinho,” with its distant ideas of brotherhood, to the shining reprise of “Palhaço,” his fulfilling melodies bring out the playful best in Garbarek. If there were ever any doubts about the group’s unity, let “Don Quixote” stand as Exhibit A toward quelling them. Like the novel for which it is named, it is a critique of belittlement and insincerity in a society gone mad. It moves at the leisurely pace of a mule whose grandeur resides not without but within.
Garbarek gives us a triangle of stars, including folk song arrangements that whistle through dynamic peaks and valleys and a fully opened rendition of “Spor” (compare this to its infancy in the studio on Magico). To this mysterious canvas, Garbarek applies shadow on shadow, seeking out wounds of color in the language of his band mates before diving into repose.
While the unity expressed by these musicians is surely enthralling, it comes closest to perfection in the monologues. Garbarek’s energy is, if I may appropriate a Douglas Hofstadter subtitle, an eternal golden braid—one that nourishes itself on the light of which it is made, self-replicating and beyond the measure of value. Haden unfolds themes fractally. Trundling through empty streets with dog-eared book in hand and love in its margins, he brings closure to uprisings of the heart. Gismonti, for his part, is as breath is to lungs. Let their individuality inspire you to action." (ecmreviews.com, 26.10.2012)