Jan Garbarek - I Took Up The Runes

I Took Up the Runes is album released in 1990 by saxophonist Jan Garbarek. Alongside him is the pianist Rainer Brüninghaus, bassist Eberhard Weber, drummer Manu Katché, percussionist Naná Vasconcelos, synthesist Bugge Wesseltoft, and vocalist Ingor Ánte Áilo Gaup. Again, due to copyright claims, I can’t provide links for the songs. Many apologies.

The album is not my favorite Garbarek album. Occasionally, it does get a little too modern for me and that can be like rubbing your eardrums with pumice stone sometimes. And the album is lengthy. Manageable, but long.

However, there are a fair number of good things as well. The album includes the 5-part epic called the “Molde Canticle” and it is one of the best songs Garbarek has ever created. We’ll get to the song itself a little later on. But throughout the entire album, the absolute mastery of Garbarek’s ability to create songs with simple, but powerful and soaring melodies over grounded percussion and bass lines shows through like a single candle in the night.

The first song, “Gula Gula,” is a shining example of just that. Garbarek glides in with the melody. Vasconcelos then lays down the beat and Garbarek comes back in. Slowly, the rest of the group joins and creates a song a little reminiscent of the ’80s, but something still very special. Garbarek graces us with some of his incredibly high range, but doesn’t linger for too long, stopping just when it starts to get annoying.

The next 5 songs are Parts 1-5 of the Molde Canticle. The first part is eerie, haunting, and strangely sad. The melody is very simple and starts with a flute playing over rolling cymbals, which sound like wind across a very empty plain. Garbarek then takes over for one reprise and then the piano and bass (in its high range) join in. Then, the bass drops and percussion takes a grander role. Throughout the entire piece, the same melody is repeated over and over and over, but it doesn’t matter as each time it is played, it is slightly different. Plus, there is the occasional bridge section, throwing the occasional wrench in there.

The second part is much more energetic, with percussion taking a front seat. There is an energy about this song that makes it very easy to tap one’s foot to. Much like the previous movement, the melody is quite simple. However, I don’t think the drums quite take advantage of the energy provided and I think are a little too calm with the bass ending up having to create a lot of the energy instead.

The third movement starts with a 4-minute long bass solo that quietly transitions into a slow and interesting rhythmic figure set down by the percussionists. The melody from the first movement comes back and the sad atmosphere settles down again almost like the piece has moved back into winter.

The fourth movement is my favorite. By far, it is the most energetic and the most fun to listen to. With the drums holding their end of the energy up, the song is tremendously entertaining. Garbarek again pulls out his amazing range to bring his solo and the song to new levels.

The last movement, although long, brings the epic 5-movement song to a satisfying close using the same melody from the first and third movements, but this time putting a much happier twist on it. And then, the movement closes exactly as the first had begun – with a flute on the wind.

The next song, “I Took Up the Runes,” is a continuation of the energetic beginning of the last movement of the Molde Canticle, but has a much more modern edge. I don’t like very much. Dissonance is sprinkled about much more liberally. Garbarek’s high notes, although impressive, started sound more like screeches from an angry bird than the energetic sounds of a saxophone. Does it have a satisfying ending? Not at all. A fade-out is never cool.

“Buena Hora Buenos Vientos” is the next to last song on the album and is actually quite intriguing. Just get through the 2 minutes or so and things start to get interesting. The drumming becomes very interesting and its interplay with the bass line and the soloist become like a braid in someone’s hair. Then, about 6 minutes in, everybody except Brüninghaus on piano, drop out and he plays a wonderful solo (the echo and reverb are masterfully done) to finish out the song.

The last song is called “Rahkki Struvvis.” I don’t know how to pronounce it or what it means. But after a 14-second intro of complete silence, the energy of the piece starts to build. It’s a “head-nodder.” As one of the few pieces with vocals, it is a chance for something new to be brought forward and for Gaup, the vocalist, to really bring the thunder. He does without fail. The song ends, therefore, with the listener feeling wonderfully happy.

(https://elliottmusicreview)

Bugge Wesseltoft - Synthesizer

Ingor Ántte Áilu Gaup - Vocals

Release date: 01.10.1990
ECM 1419

GULA GULA(Mari Boine Persen)