Carta de Amor means "love letter" and Egberto Gismonti says, "think of it as a message in a bottle that has taken this long to reach the shore." In the interim the musical message has lost none of its pertinence or potency. This recording finds the protagonists two years along the road from the albums Magico and Folk Songs, opening up the repertoire to admit extended improvising, changed by their experiences as a touring band, bringing in new pieces but still maintaining the taut balance of energies that made their first studio dates so arresting. The concentrated cry of Garbarek's saxophones, the restless movement of Gismonti's guitars and his focused, lyrical piano, and the dark tones of Haden's bass, anchoring the music...
Repertoire includes five pieces from Gismonti's pen: 'Cego Aderaldo', 'Don Quixote', 'Branquinho', 'Palhaço' and the title track, heard in two versions which open and close this enthralling double album. Also heard here are Garbarek's folk song arrangements and an extended, freewheeling version of his composition 'Spor'. Charlie Haden brings in 'La Pasionaria', from the repertoire of the Liberation Music Orchestra and 'All That Is Beautiful', not previously documented on disc.
Personnel: Jan Garbarek (tenor and soprano saxophones), Egberto Gismonti (guitars, piano), Charlie Haden (double-bass)
Garbarek went on to record the celebrated albums Eventyr (1980) and Paths, Prints (1981), and his career took a different turn. However, in 1981, the trio was briefly reunited, and recorded by ECM in concert at the Amerika Haus in Munich. Two albums’ worth of material from these sessions had been languishing in the vaults, but now ECM has collected the recordings into a double-CD package. On learning of the release, Gismonti commented that it was “like a message in a bottle that has taken 31 years to reach the shore”.
There is so much dazzlingly effective music here that it is extraordinary it took this long to appear. Haden’s La Pasionaria, better known in versions by his Liberation Music Orchestra, gets an intense, punchy reading from Garbarek. The saxophonist spits out notes with venomous feeling, before withdrawing to allow space for a shimmering guitar solo from Gismonti. Over 16 minutes, the piece never flags.
Garbarek’s disjointed, vocal-toned style (reminiscent of his early work on the recently repacked Dansere set) comes to the fore on an otherworldly version of his Spor, with Haden bowing shrieks from below the bridge of the bass, creating an eerie overall landscape.
Haden’s All That Is Beautiful, with Gismonti on piano, gets the kind of lyrical treatment we might have heard from a Keith Jarrett group at the time; Gismonti’s own Palhaço is a more sombre showcase for his pianism.
The main benefit of hearing this music freshly now, as if it was entirely new, is the passionate commitment of all three protagonists. The punchy spark in Garbarek’s playing is not quite so omnipresent nowadays, and even in his own Quartet West, Haden is seldom so totally on show, so exposed and so daring. Gismonti anchors it all, matching his European and American counterparts at every turn.
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