Tags
Christian Norberg-Schulz, ECM Records, identity, Jan Garbarek, jazz, landscape, London Jazz Festival, Michael Tucker, music, nordic, place, shamanic, Tomas Tranströmer, waves
The calendar is full but the future is blank.
The wires hum the folk-tune of some forgotten land.
Snow-fall on the lead-still sea. Shadows
scrabble on the pier
(Black Postcards by Tomas Tranströmer, version by Robin Robertson in The Deleted World)
Last week’s London Jazz Festival featuring many Nordic musicians set me thinking again about national identity, but this time wondering if a combination of nations can have a discernible identity. Nordic (a broader term than Scandinavian which strictly refers just to Sweden, Norway and Denmark, Nordic includes Finland and Iceland and their dependencies) has lately been applied to areas of culture such as crime novels (and their associated TV series, notably Wallander and The Killing), as well as jazz. It has become a useful catchphrase (and of course marketing tool) signifying angst, gloom, icy landscapes, long dark winters, introspection etc. Inevitably becoming cliched such generalisations usually start with some elements of truth. Nordic can be seen as a climatological counterpoint to ‘Mediterranean’, which might signify instead lively, gregarious, extrovert and sun and beaches; the North/South divide writ large, the Classical world versus the Pagan, with the south in the past being favoured in cultural terms.
What has changed? I always loved the Moomins from an early age, and made my first trip to a Nordic country (Finland) in 1989, followed by several more in the early 1990s. I first noticed an increased appreciation of the North with the popularity of Miss Smilla’s Feeling for Snow published in English in 1996. This trickle has now become a deluge with regular newspaper articles on Nordic Cool (Sara Lund’s jumpers etc), Nordic Noir etc and noting originally the particularly British nature of the obsession.
No wonder Jan Garbarek, the Norwegian jazz musician, appearing at the London Jazz Festival again this year, has for a while now denied any notion of his saxophone playing defining Nordic music. In a 2007 interview with the jazz journalist Mike Butler he said “I got kind of tired of endless saxophone solos with three billion notes in them, all copies of Coltrane or of Parker, or whoever, so I felt the need to get back to the origin, more or less, or my own origin. I looked inside myself to see what would come out and there were not many notes in there.” Also “I never said anything about the Nordic thing because in my opinion there is no such thing. …It’s all down to individuals not to regions.” However this is a resistance to being pigeonholed as well as a reflection of his transnational bands and musical interests I think, rather than a denial of his influences. He has also talked of “the forest we have within us, wherever we go”. A Contemporary Music Network tour of Britain in 1987 by Nordic musicians including Garbarek was called Nordic Myths and the Barbican had a Nordic festival with a series of events called Tender is the North in 1992. I think this was when I first saw Garbarek.
Michael Tucker in his wonderful book Jan Garbarek: Deep Song traces the history of the idea of the nature (literally and metaphorically) of Nordic music. From a 1910 description by the Swedish composer and conductor Wilhelm Stennhammer to the composer Carl Nielsen of “Nordic chastity and formal simplicity” to the Danish composer Per Norgard writing to Sibelius in the 1950s saying that through the music of Sibelius he had come to feel a “mystical connection with existence at the same time as I recognised my nature as something indefinably northern”, to what Keith Knox, the English producer and writer called in a memorial to Swedish saxophonist Lars Gullin in 1977 “this melancholy of endlessness” to Tucker’s own description of Garbarek as having “produced a body of work which speaks of nothing so much as the melodies and the moods, the sounds and the soulfulness – the spirituality- of the North” there is a common thread. As Manfred Eicher, the inspiration and producer of ECM records has said of the North “There’s a different energy, a purity and intensity that is evident there”. His feeling for this has influenced his crusade for an ECM aesthetic.
The conceptual or abstract nature of music means listeners can or even have to bring their own images, imaginings, preconceptions and predispositions to the music and their interpretation of it, although it will have a mood and atmosphere of its own. Of course we may be guided by what the composer or musician says, by associations – titles of tracks, sleeve notes (if any!) or images on album covers. Landscapes are a vital part of the ECM record featuring in various degrees of abstraction on covers (to which a book has been devoted and which has inspired a flourishing Flickr group). The titles on the 1976 album Dis shown above, the one vinyl copy I have of a Jan Garbarek album, are Vandrere (Wanderers), Krusning (Water Ripples), Videnne (Mountain Plateaux), Skygger (Shadows), Yr (drizzle), and Dis (Haze or Mist), so for those who know my interests it is easy to see how this appeals to me. It also features a wind harp on several tracks, an early example of creating soundscapes in jazz.
Folk music is another strand suggested as important to the Nordic sound as well as the world of myth. From Grieg and Sibelius onwards, to a band whose name I cannot remember that I saw some years ago in London playing wonderful, wild percussion involving myriad forms of reindeer bones, the rhythms, instruments, melodies and subject matter of folk, myth and legend have been incorporated by Nordic musicians. Garbarek has spoken of folk elements, found in for example old cattle calls, as “something direct, very ‘loud’ in a way, but with a floating far-off feeling as well as the sense of closeness”. It also allows him to incorporate the music of other cultures, Eastern and Middle Eastern, as well as East European (his father was Polish).
To quote theorist Christian Norberg-Schulz the Nordic world is “a romantic world, in the sense that it brings man (sic) back to a distant ‘past’ which is experienced emotionally rather than understood as allegory of history”. This takes us into the pagan world of cosmic religion, the magic of the runes and the shamanic heart of life, with life as a journey through time and space.
For we are the stars. For we sing.
For we sing with our light.
For we are birds made of fire.
For we spread our wings over the sky.
From a Passamaquoddy poem, from the Jan Garbarek Rites album notes.
The Jan Garbarek Group concert at the Royal Festival Hall on the 13th November was a characteristically unbroken, unspoken, polished, carefully choreographed set, here of a couple of hours, featuring the current line up of Rainer Brüninghaus on piano and keyboard, Yuri Daniel on bass guitar and Trilok Gurtu on percussion and drums. A reverential and rapt full auditorium had high expectations. From In Praise of Dreams to tracks from Visible Worlds and I took Up the Runes, the pace and tone varied from plangent to lilting to fast and syncopated, with soprano sax to start with, at times echoing tabla, followed by tenor, snatches of familiar tunes coming and going. Some almost classical piano solos followed a long guitar solo but for me even with the heightened sound system throughout the drum kit was too loud and heavy all through. It worked best for me when no more than 3 out of 4 participants were playing – less was more I think. Tabla and percussion became more dominant than drum luckily, but eventually taking over completely with an extended solo also featuring voice, birdsong sounds, cymbal in a bucket of water etc. The penultimate back and forth sequence with Jan on flute and Trilok vocalising even had us clapping along, fairly unheard of in a Garbarek concert! No solo from Garbarek himself. I actually enjoyed the last piece and the encore most of all, when the band seemed to come together more and we had a more flowing performance.
I have to admit to having been spoiled by seeing Garbarek play, unamplified as far as I remember, in 1995 in a tiny medieval church somewhere in the countryside near Stavanger in Norway. Nothing can repeat the magic of that occasion.
Finnish Jazz at London Jazz Festival (with the odd Norwegian!)
A showcase for the recently set up Music in Finland new Finnish music and information and export agency promoting Finnish music in the UK, began with the Verneri Pohjola Quartet.
A set including a Björk tune and other pieces from the album Ancient History with piano and Verneri Pohjola on trumpet certainly captured a Nordic spirit, some icy, some wild Sun Ra touches. However the haunting Tom Waits encore held me spellbound, minimal but powerfully emotional.
Oddarrang were also in the minimal mode with doom laden, spacey wordless ‘prayers’, and have been compared to Sigur Rós, reflecting another currently popular strand of Nordic music.
Black Motor, who sound in name like a heavy metal band but who are in fact an improvising trio, had a wild man of the forest saxophonist, Sami Sippola, and a drummer who also played a flute deep enough to tone with the tenor sax on one piece. From Song of the Green Maidens to a Song of India they were expanding beyond the North. A powerful yet lyrical sound with Finnish folk elements.
Rakka, an improvising quintet, including the bassist from Black Motor, are also influenced by Finnish folk music but combined it with more Middle Eastern dance band rhythms for a toe tapping set. One piece was called Riding a Bicycle to Tunisia. I was reminded in places of Georgie Fame style blues by the organist.
However the highlight of this afternoon session for me was Kuára, a trio playing music from the ECM album of the same name but with the unanticipated difference of the Norwegian Trygve Seim (someone I already admired) on saxophone instead of the trumpeter on the recording. This was open empty music creating soundscapes/landscapes . There was something about the keening tone of the saxophone that evoked wild nature, while gentle lyrical passages were sometimes almost not there, just a breath. Shamanic percussion and occasional beating on piano strings echoed folk rhythms.
The excellent, wide ranging review by Tyran Grillo (author of the ECM review blog Between Sound and Space) on Rootsworld.com of the album Kuára: Psalms and Folksongs, details the origins of the music in Finno-Ugric folksongs counterpointed with Russian Orthodox psalms and locates it partly in Karelia. Karelia has been divided politically between Finland and Russia over the centuries but has a distinctive identity and a common pagan heritage with other Finno-Ugric peoples such as Udmurtian and Vepsian, as well as elements of Hungarian peoples. I am particularly interested in this as it came into the thesis I wrote at Chelsea College of Art on national identity in art and design in Finland and Hungary. However this is becoming an excursion into the whole origins of the Northern European peoples, something which has always fascinated me, and does relate to my Nordic theme, but perhaps I had better return to the London Jazz Festival!
The final event in the Sound of Finland programme was a week later and featured the Juhani Aaltonen Quartet. Flute (again) and sax, with drums, double bass and piano, the latter played by Iro Haarla, this was a showcase for unemphatic, relaxed yet captivating music, mainly gentle and reflective, flowing in and out, incantatory and as my partner enthusiastically described it full of acceptance and resignation as well as sorrow, anguish and ultimately hope. A revelation.
Related articles
- London jazz festival 2012: sounds from the new Europe (guardian.co.uk)
- London jazz festival: opening highlights (guardian.co.uk)
- London jazz festival 2012: Where has Jan Garbarek gone? I miss him (guardian.co.uk)
- A sound of our times (morningstaronline.co.uk)
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Sisyphus47 said:
Reblogged this on Of Glass & Paper and commented:
Norway in London… Long Live ECM!
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Tyran Grillo said:
I’ve been meaning to get back to you on this post, which is one of your most informative so far! A wonderfully detailed report that just makes me shake my head in hopes I could have been there. Cogent observations on the Garbarek/Nordic paradigm, thoughtful listening, and covertly procured live images. What more could I ask for? 😉 And Kuára with Seim? Wow. Thanks for the “between sound and space” shout out, too!
dianajhale said:
Thank you so much for commenting Tyran – I was hoping you would! I am always a bit nervous writing about music as it is not my specialism. I have always wanted to write something on the Nordic theme, and indeed have been asked to write a guest post on Garbarek by a Norwegian! The Kuára was indeed absolutely magical. This year’s Festival certainly exceeded expectations.The advantage of free concerts in foyers etc is the ability to take photos as everyone is doing it. The Garbarek was a bit trickier – I certainly did not want to incur the wrath of the audience or indeed be distracted from the music – luckily there was a moment or too in the encore when it was possible.
Best wishes, Diana
Dina said:
What a really, really great blog this is, I’m impressed!
Thank you for this excellent post. I must say, living in London has certain privileges. 🙂 Lucky you!
I thouroughly enjoyed reading about the mediashy Jan Garbarek, my fellow countryman. I have visited two concerts of his in Germany the last 10 years, both in churches, in Oldenburg and in Rheingau, the beautiful Kloster Eberbach (The Name of the Rose). The atmosphere in a dark medieval church, only lit by candles and light from outside through the windows is magic, it’s hard to top that and I think I’d feel like you, when I heard and saw him on an concert stage.
Keep up the good work, take care!
Greetings from the Far North
Dina
dianajhale said:
Thanks Dina – it is always good to hear from others who enjoy the same music. London certainly does well on the culture front but is a bit lacking in dark medieval churches!
Steve said:
I sometimes worry about all the great things I miss by not living in London, and I think this festival has been one of them.
You can understand Jan Garbarek trying to avoid the Nordic music label, but at the same time I don’t think it’s possible to entirely shed your cultural background when making art of any kind. And why would you want to? Surely it’s the authenticity of culture that gives music so much of its power. I’ve heard enough northern Europeans trying to play Brazilian music, for example to have realised that no-one can play it like a Brazilian. Why would we expect otherwise?
I first heard Jan Garbarek on an lp by Ralph Towner in about 1972 or ’73. Even then, without knowing anything about him his sound seemed to me to be coming from somewhere cold and remote. In common with all ECM’s recordings at that time it had a quality I’d never really experienced before. Certainly it was a world away from what I’d been listening to up to then, and that was a major part of the attraction. Since then I’ve loved the fact that ECM produces music without borders or boundaries and simply ignores or avoids all the ready-made categorisations – a virtually impossible concept for your average rock music critic to grasp. Long may they continue!
dianajhale said:
Thanks for your contribution Steve, another ECM fan!
Steve said:
Absolutely! A few years ago I took my lp collection to the Earls Court record fair and sold the lot – probably about 2000 records. I left about 100 records at home that I couldn’t bear to part with and amongst them were all my ECM records, mostly bought in the ’70’s, many of them in London when I lived there. Some of them, Ralph Towner’s “Solstice” for example, are still my favourite albums of all time.
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dianajhale said:
Nicely related review – I think we agree! Thanks for the link too.
KM Huber said:
Marvelous review, Diana! As always, your description makes me feel as if I was there; your language is thoughtful and as such, objective.
I have been aware of the increased use of Nordic in describing various cultural elements. Your post is a fine consideration of Nordic, which as you remind is easily clichéd but in all clichés there is an element of truth.
Having lived for more than 40 years in a climate that is very Nordic like–the Rocky Mountains of the United States–I find the Gulf Coast climate much kinder to my bones but there are moments that I remember the Wyoming winds of winter and summer. They always felt so cleansing.
Karen
dianajhale said:
Winter is a particularly Nordic time and I am searching out all my favourite northerly and mountainous references.
Gerry said:
Thanks for these reviews, Diana, and especially your discussion of Garbarek, past and present (the concert). I followed your link to the rather surly Guardian review – your description of the current band line-up, and of the songs played made it sound much more enticing! I agree about hearing Garbarek in a cathedral setting – we’ve heard him twice now with the Hilliard – first in St David’s (http://wp.me/poJrg-1JJ), and last year in Gloucester cathedral (http://wp.me/poJrg-11X). Both utterly magical experiences. BTW: if you haven’t already come across it, there’s a book called ‘Horizons Touched – The Music of ECM’, edited by the guy who writes a lot of the ECM sleevenotes, Paul Griffiths, which has an essay by Michael Tucker, ‘Northbound: ECM and the Idea of North’.
dianajhale said:
Thanks for those links Gerry – I have still not investigated your back catalogue enough! I see you included the ‘Star’ poem too. I have not actually seen that ECM book although I know of it but I didn’t know Michael Tucker was in it. His book Dreaming with Open Eyes also has a lot on music in it as well as more on the idea of North.
East of Elveden said:
Envious that you managed to see all of these. I read the recent Guardian piece on Garbarek but it sounded a little disappointing. I have fond memories of him performimg with the Hilliard Ensemble in Norwich Cathedral a few years back, Garbarek slowly marching up and down the aisles dispatching splinteringly cool Nordic notes up into the rafters. Verneri Pohjola Quartet sound interesting, as might anyone who can evoke Bjork, Sun Ra and Tom Waits in the space of just a couple of sentences.
dianajhale said:
I have seen Garbarek a couple of times with the Hilliard Ensemble too but unfortunately in concert halls, although still achingly beautiful. The Norwich one sounds wonderful. I went there at Christmas a few years back and it was a very special place to hear music of any kind. I am now trying to catch up with everything I saw – I do love a full onslaught of experiences!
fifepsychogeography said:
Sounds like you had an action packed and enjoyable time at LJF Diana. I don’t know the answer to your question but there is clearly a steady stream of top quality music coming out of the Nordic countries. My favourite label over the past couple of years has probably been Norway’s Rune Grammofon and what I find interesting is the stylistic diversity amongst the music released and trancendence of genre. For example the keyboard player Ståle Storløkken appears equally at home in minimal improv unit Supersilent and his proggy/neo-psych/jazz-rock organ trio Elephant9. Similarly, a current favourite, guitarist Stian Westerhus, can flit between Nils Petter Molvær, the jazz-metal band Monolithic, or his recent phenomenal album with improv vocalist Sidsel Endresen. Also a folk tinged element in likes of Jenny Hval, Susanna and Phaedra all of which do perhaps conjure up some feeling or the ‘idea of North’. Maybe it all leads back to the idea of record labels still having a valuable role as curators and catalysts for bringing musicians together. Something which both ECM and Rune Grammofon appear to excel at.
dianajhale said:
Wow that is going to keep me going for a while! I have not knowingly come across Rune Grammofon. I do seem to like Finnish and Norwegian music particularly – maybe they have a wilder or experimental edge than some? I’ve been listening to some of the ACT label as a follow up on some of the artists I saw but with mixed results. I guess ECM has been so influential it has encouraged others to try for more curatorial cohesion, but not always with the same amount of vision.
whistlesinthewind said:
Fascinating insight… inspired me to do some more investigating!
dianajhale said:
Sounds interesting! Let me know what you find.
greenbenchramblings said:
We have seen Jan Gabarek live too. An unforgettable experience! You sound as if you have been having a great time!
dianajhale said:
I do like to keep myself occupied!
Dina said:
i wonder if you’d be interested in making a portrait of Jan Garbarek on The World according to Dina, with links to your fine blog?
Greetings
Dina
dianajhale said:
Sounds a great idea – give me some more details. best wishes
Diana
Dina said:
Hi Diana,
that’s great, appreciate it!
You’ll find my address in “aboout”.
You are free to write what you like, I’d prefer a portait of the man and his music,(not a concert review). If you have good photos that’s fine, otherwise, I’ll provide some, that’s no problem.
Thanks! 🙂
Enjoy your weekend.
Dina