Garbarek....set up

[Marcus]

Any one knows his instruments set up mouthpieces reeds ???

Thank you

Marcus

[TEP251Sax]

More so than Jans equipment must be considered that he is totally self taught
on the sax and his backround in music.In his case,what he uses is not as
important or vital as what he's listened to and studied on his own .
He was a student of George Russell, in his late teens. Listen to "Affric
Pepperbird" or the "Electronic Souls Love By Nature"
where he was a soloist w/Russell.Both have been re-issued on C/D.
He told me years ago ( 1969) in Boston that he was very into Archie Shepp &
Ben Webster.Not to mention..Jan dug the late great Jim Pepper- an incrediable
native American that was one of the unsung tenor voices.Just ask Mike Brecker
or Bert Wilson 'bout Jim Pepper.You can hear a lot of Jim in Garbareks sound.
Jan has a really far out Yamaha tenor with a non-goose neck type neck-like a
giant alto-have you seen that ? Plus..go back and listen to him on those early
ECM recordings-listen to the SING in his sound and the structure of his
lines.And the FLOAT in his time feel.
This to me is way more important than a mouthpiece or reed.
There is a lot to talk about here .I love that enviroment that Garbarek
creates when he plays.He's someone who rarely plays the states.One time in late
70's I saw him at the Village Vanguard w/Keith Jarrett in NYC. It was
spellbinding-I heard 3 sets-left the club and WALKED up 7th ave.to the flea bag
hotel I was staying at on 64th street.ALL I could
think about was the music I just heard.Garbarek WAS killin it.I 'll never
forget that nite.
Anyhow..What sound !! And a concept!!!! HIS COMMAND OF WHAT HE PLAYED WAS SO
INSPIRATIONAL-his originality is what I listen for.Not to mention the passion.
Any other thoughts on Garbareks music ?? Lets talk about it ok. >Tim Price

[MMacqu2070]

I agree that his music, his sound, execution, etc. are all first rate, and
perhaps even divinely inspired.
And it probably wouldn't make a damn bit of difference what kind of set-up
he used.
I remember him from the same days that Tim Price refers to, but as far as
being self-taught, I thought he was at the New England Conservatory. And yes,
I could definetly hear Shepp in his sound and approach.
Later, he seemed to change his sound quite extremely, perhaps because he
was playing a much different kind of music.
Brings up a couple of other questions: what ever happened to the kind of
loose ensemble playing ala Shep and say, the New York Contemporary Five?
Anyone pursuing that kind of writing/playing today? I remember when "funk"
meant loose and down, not tight and up up/tight.
Also, regarding the New England conservatory, and other 'schooled'
musicians, the distinction so many of them have, is the even 8th note feel.
The early Garbarek seemed to escape that (though he has it now). Another guy
on the Boston scene in those days who was at the New England Conservatory, if I
am not mistaken, but who was always loose and swinging and didn't sound like a
student at all, was Ricky Ford. I always wondered how he managed to escape
sounding like all of the rest of them. Anyway, I miss Ricky, Archie and the
earlier Jan.
Leon Mack

[TEP251Sax]

Leon spoke;

> I remember him from the same days that Tim Price refers to, but as far as
being self-taught, I thought he was at the New England Conservatory. And yes,
I could definetly hear Shepp in his sound and approach.

===========================================================
Leon- I know what you mean via New England Cons & Jan.
I was in Berklee @time I ran into Jan.He was rehearsing with George Russell
at
New England for some ofthe music Bob Thiele recorded of Russels.
I remember Rickey Ford and know exactly what you mean - Tho Mr Ford was a
very mature young cat at an early age.So that I think had a lot to do with it.
Another GREAT player that came out of New England Cons. was Billy Saxton
.Remember him ? What sweet cat.
Its all in how you apply the tools-Tim Price