Deer Wan

KW, tpt, flglhn; Jan Garbarek, ten, sop sx; John Abercrombie, elect guit, mandolin; Dave Holland, b; Jack DeJohnette, dr; Ralph Towner, 12-string guit (on “3/4 in the Afternoon” only)This album, recorded 38 years ago, could almost be an ECM Jazz Giants album, if there was such a thing. Wheeler’s lyrical trumpet and flugelhorn and his intelligent, sometimes lyrical, other times driving writing; the keening sax of Jan Garbarek, who has seldom soloed with more fervor and intelligence than he does here; John Abercrombie filling in for the absent piano in ensemble and (like Garbarek) delivering some of his best –and most lyrical—solo work here; the intelligent, driving, complex bass work of Dave Holland and the always intelligent, subtly changing, perpetually forcing drumming of Jack DeJohnette. And then, on one cut (“3/4 in the Afternoon”) you have Ralph Towner soloing on twelve-string guitar. It’s just an exceptional album.Of the four pieces on the album, all by Wheeler, the first (“Peace for Five”) and third (“Sumother Song”) are suites: indeed, “Sumother” is three separate song lines, tied together loosely but succeeding each other more as intentional changes in mood and tempo than as a continuous entity. “3/4” is lyrical and short. The other three pieces are boppish and long. You will love the ensemble and solo work in this album, but take a moment to appreciate the arranging. As Wheeler has shown on other albums (e.g. his Music for Large and Small Ensembles, 2000), he is a very subtle and talented composer and arranger, who successfully fuses the drive of late bop with a lyric style of his own.This album has had a good reputation from the start: listening to it 38 years on, it hasn’t aged a bit. You can’t say that about a lot of albums from that time.

I became acquainted with this album about 15 years ago, and I fell in love with it, the music is just amazing. I heard so many known voices, and when I went to check who was playing, it was an all-star ECM session. Unbelievable. I bought it in eMusic around that time, and only until now I get the CD. I'm happy.

My order came all bended in the right side of the vinyl.thats unacceptable. I will like some credit.nim jazz collector. And I'm very picky with my vinyls

As the progressive rock era underwent disco degeneration in the last half of the 70s many of us boomers began searching. I lived in Austin at the time and started checking out Fred Bourque's jazz program on the public radio station, just to see if there was anything there--maybe "fusion jazz". I new I didn't really like "mainstream jazz". I could appreciate the technical virtuousity, but it generally didn't make me feel anything deep. Maybe I just didn't know what to listen to.Sitting alone listening late one evening, 3/4 in the Afternoon came on, and I felt the amazing emotional power of the Wheeler sound. By the end of Ralph Towner's solo, the haunting beauty of the piece had raised goosebumps, and I was a changed being. I waited to hear Bourque identify the tune, wrote it down and found Deer Wan at the store the next day. I didn't know if there was anything else on the album I would like--but I strongly felt there would be. This album began my exploration of that rich ECM jazz era.Agree with the other reviewer, a masterpiece from that ECM era. If you can listen to 3/4 in the Afternoon alone, late at night, and not get a little teary, you might want to look for professional help.

This masterpiece from Kenny Wheeler, Jan Garbarek, John Abercrombie, Dave Holland, Jack DeJohnette, (and Ralph Towner on one cut) is unlike any other album. And music on the ECM label is unlike anything else out there, so this is a must-listen. ECM brings together musicians that can improvise like composers and compose like improvisers. If I were forced to choose one album to represent this entire "school" or genre of music, this would be it.The compositions, arrangements, and improvisations are lyrical, complex, and unexpected yet grow from one another organically. I love listening to music that is so absorbing that it is only after the fact that I wonder what was what planned and what was spontaneous. This is music that is as far from formulaic as can be, even the "formulas" of jazz or classical music. It is like listening to an ecosystem.And with all the music on the ECM label, there is an unparalleled respect, dare I say reverence, for the sound of musical instruments and for sound itself. The music is sensual in the best sense of the word. Coupled with a roster of artists that is more global and diverse than any, there are good reasons why this company wins "label of the year" awards.I bought the album in 1977 when I was a composition student at Berklee and I'm writing about it in 2011, and there's always something I didn't quite catch or absorb each time I listen.

Glad to see I'm not the only one who still finds this album to be extraordinary. Even by Kenny Wheeler's standard of brilliant, evocative writing and exemplary musicianship, this stands alone. I got this album when I was immersed in late '70s ECM style jazz, much of it chaotic and dated sounding now. But there were also works of piercing beauty and if you were ever a fan of that style, this represents a sort of dream team. Names like Garbarek, DeJohnette, Abercrombie, and Towner speak for themselves. Kenny Wheeler always places the tune above mere technique, the song is never sacrificed in endless, self-absorbed noodling. And what tunes! By turns sprightful, moody and ever wistful, marked by his soaring use of call and response.Even after almost 30 years, this remains the most perfect jazz album I've ever heard. If you like this, seek out George Adams' Sound Suggestions, also on ECM. It's got KW and he contributes the best of the songs.

Capolavoro ECM (anche se può tradire i suoi anni non ne risente l'insieme dell'opera ), pietra miliare per Wheeler e magnifiche performance dei suoi side men. TOP Dave Holland. Bel suono e ottima stampa silenziosa.

Une vingtaine d'années après sa sortie, j'ai reécouté ce CD. Je le trouve encore meilleur qu'à l'époque, car la discrète patine du temps lui donne de l'épaisseur. Les musiciens sont le top de l'écurie ECM. Le son est bien sûr parfait comme toujours chez Manfred Eicher.Surtout, les échanges style fugue entre le sax et la trompette sont magnifiques. Les thèmes sont très bien composés, mais pour autant ce n'est pas n disque rêveur ou planant : la ryhmique avec Holland et De Johnnette entrtient la flamme et l'urgence en permanence. Pas un morceau n'est plus faible que ls autres. au bilan, un de mes disques préférés tous styles confondus, pour son merveilleux équilibre.

Una grqbacion legendaria de ECM, y muy bien logrado el reissue en vinilo. Son solo cuatro canciones, dos de cada lado, no tiene nada de desperdicio. DEP el gran Kenny Wheeler.

un gran bel lavoro cose d'altri tempi pura poesia.

Shipping took a while, and there was some bends at the corner of record. Otherwise a great purchase, thanks!