Solstice

A masterpiece.

Mid 70`s ECM classic from Towner ,Garbarek et al.

After I had listened to this a few times I was a little disconcerted to realise that apart from a general feeling it was a pleasant record I couldn't remember much about it. More listening has confirmed the view that although this is an attractive disc, it is not a great one, as some of the other reviews seem to suggest, and most of the better moments tend to come from Garbarek and the rhythm rather than from Towner. Garbarek plays mainly tenor and his crying, haunted sound at slow tempo characterises the disc and gives the music the strength it has. By comparison his soprano has always sounded a little light but is not much featured. His flute, a new sound to me, is, and is an important part of the music. Weber's bass is strongly featured, both as carrying melodic lines and supporting the ensemble. Christensen is less prominent but adds constant repeated drum patterns and commentary although little rhythmic impulse. All three musicians have long experience in the ECM type of music and their work here is an attractive example of that style. Towner is slightly different. His acoustic guitar is pleasing and fits in well with the harsh sound of Garbarek's tenor. When he solos at length he shows himself to be a fine guitarist but to these ears he spends a little too much time making sounds off to the other players rather than any extended music. Of the tunes, 'Visitation' and 'Red And Black' are little more than brief interludes, but 'Oceanus' is a lengthy piece featuring good solo and group improvisation all round. The remaining tunes are mainly slowish but Garbarek works up a considerable head of steam a couple of times and there is an attractive guitar feature on 'Piscean Dance' and some appealing flute on a couple of tracks. Indeed, there is considerable variety on the disc bearing in mind the similarity of tempi in most tunes. So, an attractive record, without being particularly significant.

Simply some of the best music of the 70s. Complex at times yet atmospheric and sometimes stunning tracks in this classic modern jazz album!

was recommend by a friend It's taking me places in my head and filling my soul

Beautiful

This fine reissue dates back to 1975,and it still retains its sense of magic,thee magnificent opener features an incredible confidence,Towner leads a masterful display of musicallity,that belies and hols testement to the 35 years sinse the originals release Jan Garbareck,Eberhard Weber and Jon Christensen all play well on this track. "visitation"is a short experimental soundscape,with slight psychedelic leanings. "Drifting Petals" sounds more traditional with Towner on Piano sounding absolutely beautiful. "Nimbus features Towner playing a very delicate acoustic guitar which suddenly breaks into a more upbeatsection halfway through. "Winter solstice"continues the more upbeat mood with yet more fine playing from all concerned. "Piscean Dance" features a more funky beat than all the other tracks and consequent is perhaps less tunefull,but still highly listenable. "Red and black"is the albums shortest track,and is stunning. "sand" is a Virtuoso performance from the whole ensemble. Summing up then, a marvellous album,well produced and packaged.

The following extraordinary points should be given: Most curious things in the first half of this recording are, to me, the first [Oceanus] and third [Drifting Petals] songs, which remind me in both the title and musical content of, respectfully, The Ocean Song [from Pat Metheny: Watercolors] and A Lotus on Irish Streams [from Mahavishnu Orchestra: The Inner Mounting Flame]. The feeling is of a strange sameness despite the different measurable identities. A less curios thing is that the flute theme form 'Nimbus' reminds me of an ECM record by Eberhard Weber - 'The Colours of Chloë'. Towner-Christensen duo funk-number 'Piscean Dance' is again, to me, very reminiscent of the long intro to 'Dancing Girls' [from NHOP Trio: To a Brother]. The piece must also contain the far most inventive version ever recorded of the basic rock/pop-beat on the drum set! The whole recording is a marvellous masterpiece, including the two short numbers, which are _not_ fillers. This album does not have as much straight-ahead melody as it has _hidden_ melodic content, something that reveals itself by concentrated listening. An example of an element guised in the atmosphere is the appearance and disappearance of the tenor saxophone from, and to, inside of the long, sustained notes of Eberhard Weber's cello [in the first piece]. Ralph Towner plays _excellent_ classical guitar on 'Winter Solstice', a part which could be from any end-of-19th-century Spanish guitar masterpiece. (As well, listen to a little but significant musical "trick" at the end of Drifting Petals, which is not often heard. ) Sum up: I truly recommend this album, if you want to hear a most inventive, imaginative and masterfully performed piece from the ECM catalogue. This is not new age music, but music of a mostly refined and contentuous character. Buy it if you want to take the challenge of getting art-like popular music to really focus on.

This is a reissue of the 3rd solo album by American guitarist / pianist / composer Ralph Towner, recorded in a quartet setting with European musicians: Norwegian saxophonist Jan Garbarek, German bassist Eberhard Weber and Norwegian drummer Jon Christensen. The album presents eight tracks, seven composed by Towner and one by Weber. The music was recorded at the legendary Arne Bendiksen Studio in Oslo, often called the birthplace of ECM, with Jan Erik Kongshaug presiding behind the console. Kongshaug was the manager and chief sound engineer of the studio between 1967 and 1974, and he is the creator of the iconic “ECM sound” of the early ECM releases. The music is absolutely magnificent, a sophisticated mixture of influences from different World Music traditions, Scandinavian melancholy and Jazz improvisation, exquisitely performed by these Master musicians. In parallel to his solo recordings, Towner was of course a member of the legendary Oregon quartet, which created music somewhat similar to what can be heard here, but the European / Nordic influences are much stronger on this album, taking the music into another “orbit”. Recorded in December of 1974 (50 years ago!), this music is light-years ahead of its time, and reflects the enormous influence that the early ECM albums had both on European and much later also on American Jazz. The incredible freedom the musicians were allowed to pursue, unrestricted by any commercial considerations, created an atmosphere of unlimited creativity, experimentation and milestone development of contemporary music, which lasted for a couple of decades, making a lasting impact, and which ripples can be felt even today. Towner’s extensive recorded legacy, which spans well over fifty albums as leader and sideman, is a treasure trove of brilliant music and his integrity and immense talent never failed him over the years. I feel privileged for having the opportunity to meet him in person and even having him as a guest in my home. Overall, this is an absolutely everlasting gem of an album, which stands as a beacon of the early ECM recordings, full of brilliant and touching music, counting every second of its duration. It should be a part of every decent album collection, reaching far beyond any genre classification – it is simply Godly music.

Una maravilla del el jazz fusión.

高校時代に友人に連れていかれたジャズ喫茶でこの作品が掛かっていました。日曜日にすぐに秋葉のレコード店で購入、』当時はドイツ盤でした。今はアマゾンで購入することが出来て便利な時代になりました。 演奏しているのはラルフタウナー、天才です。

Bon prix et jazz contemporain comme on aime. Précis et pertinant, cette musique nous transporte au grés de votre humeur.

It may seem strange that I give mostly 5 star reviews, but that is because I focus on reviewing items that are either incredibly good, or extremely bad. This Ralph Towner album surely falls in the 'incredible' category! Right from the beginning the first track (Oceanus) is filled with that mysterious, ethereal beauty that Towner's record company ECM is known for. In fact, ECM is so trustworthy in this regard - its amazing consistency of atmosphere and style across its catalogue - that I usually buy ECM albums without having ever heard of the artist. It is an ECM album... it WILL be a great sounding album filled with minimalistic music made a mix of European, Scandinavian, and American musicians. Buy it and you will surely think it was worth every penny you spent on it...