Rosensfole

Editorial Reviews
Amazon.com
This 1988 recording may be Garbarek's most extended foray into the early music of his native Norway, crafting spacious settings for the voice of Agnes Buen Garnas, a Norwegian traditional singer who brings a rich drama to these songs based on medieval origins. Her voice is a stunning instrument, possessed of a thrilling vibrato and a subtle sense of pitch that are only enhanced by the electronic climate of the recording. Though there are traces of his usual reeds, Garbarek uses synthesizers and a host of percussion overdubs to create a virtual orchestra with wind, string, and harmonium textures. It doesn't sound like mere mimicry of medieval music, but a heightened setting for the drama of Garnas's voice, from the undercurrent of soprano saxophone on "Signe Lita" to the anvil-like percussion of "Lillebroer." The 16-minute "Marjit" possesses both epic grandeur and hypnotic power with its pulsing, tablalike drumming, deep drones, and endlessly repeating melody. While it's a kind of precursor to Garbarek's later project with the Hilliard Ensemble, Rosenfole has a distinctive beauty all its own, and a stunning presence in Garnas's voice. --Stuart Broomer --This text refers to the Audio CD edition.

Tracks:

Innferd
Rosensfole
Margjit Og Targjei Risvollo
Maalfri Mi Fruve
Venelite
Stolt Oli
Signe Lita
Lillebroer Og Storebroer
Grisilla
Utferd

Amazon.com

This 1988 recording may be Garbarek's most extended foray into the early music of his native Norway, crafting spacious settings for the voice of Agnes Buen Garnas, a Norwegian traditional singer who brings a rich drama to these songs based on medieval origins. Her voice is a stunning instrument, possessed of a thrilling vibrato and a subtle sense of pitch that are only enhanced by the electronic climate of the recording. Though there are traces of his usual reeds, Garbarek uses synthesizers and a host of percussion overdubs to create a virtual orchestra with wind, string, and harmonium textures. It doesn't sound like mere mimicry of medieval music, but a heightened setting for the drama of Garnas's voice, from the undercurrent of soprano saxophone on "Signe Lita" to the anvil-like percussion of "Lillebroer." The 16-minute "Marjit" possesses both epic grandeur and hypnotic power with its pulsing, tablalike drumming, deep drones, and endlessly repeating melody. While it's a kind of precursor to Garbarek's later project with the Hilliard Ensemble, Rosenfole has a distinctive beauty all its own, and a stunning presence in Garnas's voice. --Stuart Broomer

Customer Reviews:

JAN GARBAREK STRETCHES OUT AT HOME..........2001-06-17

Having been a fan of Jan Garbarek's work since the early 1970's, I've seen/heard him go through many stanges of compositional expression. This album is one of my all-time favorites -- not just of his work, but of my entire collection. For this cd, Jan not only returns to his Norwegian roots -- he goes back hundreds of years, drawing upon the medieval songs of his homeland for his inspiration.

Playing all of the instruments himself, and joined by the incredible vocalist Agnes Buen Garnas, Garbarek takes the listener through territory seldom explored outside of Norway. There are many fine groups of Scandinavian musicians working today, and many of them are enjoying a well-deserved vogue of popularity -- Varttina, Hedningarna, Gjallarhorn, Mairi Boine Persen, Garmarna, Vasen...&c -- but the mood, time and place evoked by these pieces sets them completely apart from any of the fine work by these artists.

Jan's usually-heard saxophone is here, but it is awash in a mind-boggling (but ever-tasteful) ocean of keyboards, stringed instruments and percussives. Combined with Agnes' voice, the full effect is to sweep the listener away in both time and place. The modern instruments do not, as in some works by others, negate or grate against the soul of these ancient songs -- in the hands of Jan Garbarek, tempered by his deep love of this music, they enhance, embrace and honor it.

If you're appreciative of exploratory but infinitely listenable works, you owe it to yourself to give this some serious attention. The roots themes touched upon in some of Garbarek's other releases -- I TOOK UP THE RUNES, TWELVE MOONS (on which Agnes Buen Garnas also appears) -- are in full bloom here, making this cd a listening experience like no other, and one that will not soon be forgotten.

Significantly Different than Officium.......2001-02-21

I'd like to echo, and emphasize, Mr. Smith's closing statement (see below): there isn't much of the saxophone, at least that I recognize, in this work. For those that were introduced to Mr. Garabeck by the hypnotic "Officium" and are looking for more of the same I'd advise looking elsewhere. "Ragas and Sagas" might be closer to the mark.

Don't mistake me: I don't question the value of this CD, but it's not quite my cup of tea. I appreciate Mr. Garabek's wide ranging talents and the eclectic mix of forms and styles that are borne of his experimentation. However, this is one mix that I don't find completely appealing.

If you're simply looking for "Officium 2" look elsewhere. If you'd like to explore some of the depth and breadth of Mr. Garabek's talent then by all means buy this CD.

atypical but outstanding garbarek.......2000-10-25

Garbarek is quite possibly Europe's most celebrated saxophonist at this point (not just Norway's, or just on the alto, as the other reviewer implies, tongue in cheek), and he has made this reputation partly by maintaining a recognizably individual, biting style, and partly by involving himself with all manner of kinds of music: contemporary jazz, ethnic/international music, folk music, and medieval and Renaissance classical. Here he provides the backing for a celebrated traditional singer, Agnes Buen Garnas, on early Norwegian music, and the effect is both beautiful and mesmerizing. Garbarek is mostly content to stand in the background, providing techno-atmospherics for Garnas' striking vocalizing. A note, moreover: in this work Garbarek himself plays hardly any music recognizable as coming from a saxophone, so be forewarned! Generous length.

Garbarek at his best.......2000-02-25

This is wonderfully unique; a mixture of the very old and modern. This is music you can never tire of. It is also ageless; my son who is 5 loves it as much as I do. One comment to the other reviewer, with whom I generally agree: These are old Norwegian folk songs, not Lapp, which is a completely different language.

Beautiful, strange mix of jazz & medieval Lapp folksongs!.......1999-03-11

Jan Garbarek has long been everybody's favorite Norwegian jazz alto saxophonist (there are so many to choose from!). Here he teams up with a fabulous soprano vocalist, Agnes Buen Garnas, for one of the strangest, most hauntingly beautiful albums I have ever heard. If you've seen the movie "The Navigator," you can imagine the mood--eerie, alien, cold, yet very warm, human, and profound at the same time. If you're a Garbarek fan looking for more jazz, this isn't it. If you're a lover of fantastic music looking for something that will turn your brain inside out in a most delightful way, give Rosensfole a try.

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