I Took Up the Runes: Touchstones Series

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.CD length is 61 minutes and everything is musically engaging. Highly recommended.

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.

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.

The central piece of this album, the five-part Molde Canticle is the outstanding highlight here. This long section is the most exhilirating and lively Garbarek has been in a long time, and this is clearly due to the rhythm section of Katche, Vasconcelos and Weber, who create some incredibly dynamic and addictive rhythms, against which Garbarek and Bruninghaus scatter some gorgeous, rippling arcs of melody. Stunningly engaging music which simply bursts with joy and beauty, and quite unlike much of Garbarek's more restrained, even austere music (which I also love).The album also has some other instrumental pieces, which attain Garbarek's usual high standard, but there are also two Lapp songs (clearly an acquired taste) which I'm afraid not only left me cold, but sat uneasily with the mood and tone of the rest of the album. Having said that, this remains an essential purchase on the strength of the joyfully upbeat, irresisitible magic of the Molde Canticle: you won't regret it.

What a shame that we have one review below by someone who seemed more concerned with the album art and manufacturing than with the music.This bold CD pushes the boundaries of the fusion of jazz and Scandinavian folk music, specifically Joik Singing. To me it was a revelation when I heard this music for the first time. Like many of Garbarek's other experiments it just shouldn't work. But in my opinion it works gloriously in I Took Up the Runes.While I've listened to Garbarek develop both as a saxophonist, composer and collaborator since the '70s, this disc would be the one I'd grab if my house were going up in flames.It greatly influenced me as saxophone player and opened my ears up to a whole new way of contemplating 'jazz'.Pass by this gem at your own risk.

I have absolutely loved this album since it was first released. Haunting, lyrical, engaging. I cannot recommend it highly enough to anyone with interests in Contempory, Avant Jazz, World Music, New Age etc. I own most of Jan's early work with Keith Jarrett and Charley Haden as well as many of his later solo work. Runes is by far my favorite. Definitely a desert island pick regardless of packaging!

And some simpleminded people categorize Garbarek's music as new age.. the truth is that it is far more elaborated than NA music... you should listen it thinking in jazz a la Brian Eno...

I’ve been to Norway and northern Scotland numerous times. This superb album takes inspiration from the traditional music of both countries. It genuinely transports me.Also I’m 58, and I’ve listened to a lot of recorded music, and I can say that without a doubt the quality of this recording is the best I have EVER heard.

Dies ist betörend schöne Musik, die sich in großen Teiler jeder Kategorisierung entzieht. Ein wenig wie beschwörende Musik bei einem archaischen Ritual. Seite 2 fängt eher so an, wie man es von Garbarek, Weber, Katche und Co erwärten würde, nimmt dann aber wieder die mystische Thematik der ersten Seite auf, Toll - eine der wenigen Platten, die ich gleich zweimal hintereinander hören musste, und die auch noch beim zweiten Mal noch überraschte. Technisch so perfekt, wie man es von ECM kennt.

Ottimo cd di Jan Garbarek. La qualità dell 'incisione non si discute (basandomi sul mio impiantino entry level, però). Da ascoltare in doveroso silenzio ed in ore notturne. Occhio che la confezione che ho acquistato io è in cartoncino e di spessore minimo (se non ricordo male, dovrebbe essere un edizione per qualche anniversario della ECM), preferivo , forse, la classica custodia di plastica (più resistente). Alcune tracce, com'è prevedibile, sono più tormentose di altre. Spedizione puntuale.

Une édition 180 grammes, digne de ce nom, je ne boude pas mon plaisir face au son qui émane de ce disque que j'avais acheté jadis en CD (25 ans déjà, aïe !). Certains "puristes" le trouvent secondaire. Je le trouve plaisant, et étant le 1er disque de Garbarek que j'ai écouté, il m' a donné envie d'en découvrir d'autres, comme Star, Rites ou Twelve Moons (celui qui a ma préférence). Plus abordable que d'autres albums du saxophoniste. (je ne sais pas pourquoi cette critique apparaît sur le support CD, il s'agit bien ici du vinyle, rupture de stock, plus disponible ?).