It's Ok to Listen to the Gray Voice Import, Original recording reissued
Frequently Bought Together
Customers Who Bought This Item Also Bought
Top Customer Reviews
I have to say, in light of his later recordings (Legend of the Seven Dreams, I Took up the Runes, Visible World, Twelve Moons, Rites, In Praise of Dreams), this disc sounds somewhat inchoate, transitional, and primitive. What's going on here, I think, is that he's got a foot in two worlds: that of his "old skin" jazz-rock orientation, and of his "new skin" world folk/jazz. But this is clearly one of those cases of you can't get there from here. Would he have been able to access that transcendent vibe brilliantly on display on those later discs without having first tested the waters with this one? I don't think so.
Anyway, there're plenty of goodies here: Eberhard Weber's post-Jaco e-guitar bass; David Torn's space-folk guitar, the leader's emerging keening sax voicings; Michael DiPasque's pre-Manu Katche drum stylings. If it doesn't all quite add up, that's OK: It's still a major statement by a master.
Entirely worth picking up, if only for the leader's fascinating grope toward later mature sax stylings.
All pieces on the record are titled after quotes from poems by Tomas Tranströmer, who was awarded the Nobel Prize for Literature in 2011.
The music sounds like this:
The summer evening is grey.
The rain steals down from the sky
and lands quietly as if
it had to overpower someone sleeping.
The water-rings jostle on the bay's surface
and that is the only surface there is -
the other is height and depth
soar and sink.
shoot up and end in long hollow signal-drums.
Gone are the cities and the sun.
The thunder's in the tall grass.
It's possible to ring up the mirage island.
It's possible to hear the grey voice.
Iron-ore is honey for the thunder.
It's possible to live with one's code.
By the way: Tranströmer also plays the piano (which informs the imagery of some of his poems) and composers have since 1990 written left-hand piano pieces especially for him to play, because of the stroke in that year which deprived him of most of his speech and partly inhibited movement on his right-hand side:
I play Haydn after a black day
and feel a simple warmth in my hands.
The keys are willing. Soft hammers strike.
The resonance green, lively and calm.
The music says freedom exists
and someone doesn't pay the emperor tax.
I push down my hands in my Haydnpockets
and imitate a person looking on the world calmly.
I hoist the Haydnflag - it signifies:
"We don't give in. But want peace.'
The music is a glass-house on the slope
where the stones fly, the stones roll.
And the stones roll right through
but each pane stays whole.
Most Recent Customer Reviews
If you read my reviews, you probably think I'm incapable of criticism. So what? It's great!Published 5 months ago by The Book Lover
Thanks to my new portable cassette player , i was just able to revisit this 1984 GROUP set with Tavid Torn on guitars , Eberhard Weber on bass and Michael DiPasqua on drums . Read morePublished on May 7, 2011 by Hammer + Jazz