02. Tang 2:11
03. Å Møte En Gammmel Kjenning Noen År Senere 1:10
04. Uplift Blues 1:34
05. Desemberlys (Stumfilm I Wergelandsveien) 1:53
06. Sommerdrømmen 0:57
07. Funny 2:46
08. Tale For Loffen 1:38
09. Min Nye Blå Dyne 0:35
10. Kropper 0:33
11. Amper Juli Blues 0:56
12. Ikke Alle Kjærtegn 0:16
13. Ikke Si Det. Jeg Vet 0:59
14. Han Var Her 0:36
Bass – Arild Andersen
Drums – Jon Christensen
Guitar – Terje Rypdal
Tenor Saxophone, Flute – Jan Garbarek
Vocals – Jan Erik Vold
Recorded October 16–17, 1969 at Roger Arnhoff Lydstudio, Oslo.
All poems published in JEV: Mor Godhjertas glade versjon. Ja (1968).
"Go to where you are—I’ll wait for you there.”
Jan Erik Vold was born in Oslo in 1939. In the 1960s he studied languages and literature at the universities of Oslo, Uppsala and Santa Barbara. He published his first collection of poetry in 1965, and has since then displayed a wide scope of activities. He is appreciated as an essay writer and a debater on cultural questions and has initiated a number of crucial debates on poetry and politics. As a poet he emphasises oral performance and gathers a good audience whenever he is reading. Vold has also published a number of records in close co-operation with well known jazz musicians, among them Chet Baker and Bill Frisell.
In Norway, Jan Erik Vold is the poet. In the 1960s, he was the one to bring new life into Norwegian poetry. He was important in the so-called Profil circle, which, in the student magazine Profil, called to account the esoteric and abstract aestheticism which the circle claimed ruled Norwegian literature. Poets and prose writers in the new generation gave their books a more playful shape, open to international directions.
As for Jan Erik Vold, he turned towards the USA. Through his interest in jazz, he became aware of poets belonging to the American Beat generation, and like the Beat poets, he too developed a feeling for the Zen-Buddhist attitude towards life and poetry of the East.
Vold's first works of poetry are characterised by the fact that he manages to give internal images a concrete basis. Although his four opening books might be called experimental in a Norwegian context, we find everyday, simple situations and language.
His great breakthrough came in 1968 with the collection of poetry Mor Godhjertas glade versjon. Ja (The Happy Version of Mother Kind-Heart. Yes). In long poems, free of metaphors, he describes what is close. He doesn't conjure up an idyllic scene; rather he puts emphasis on everyday phenomena, together with exuberant joy at his dialogue with the city and its inhabitants. The distinctive stamp of these poems is also the oral diction of the poet; there are poems with rhythm and appeal, and they provided Jan Erik Vold a large and loyal audience.
His next collection, kykelipi (1969), presented a nonsense poem, and many found this so provoking that they began opposing modern poetry in the newspapers. kykelipi contains black humour and the grotesque, but still the book holds open the door to a linguistic and emotional connection between people.
Vold published four collections of poetry in the 1970s. spor, snø (track, snow; 1970) is a collection of minimalist poems in the tradition of the haiku, and it aroused an interest for poetry of the East in Norway. sirkel, sirkel. Boken om prins Adrians reise (circle, circle. The Book about the Journey of Prince Adrian; 1979) is an extensive collection of poetry describing a journey from Oslo through Russia to Japan, further across the Pacific to the USA, and, as a completion of the circle, back from New York to Oslo. The collection reflects an internal process which goes on within the traveller.
Sorgen. Sangen. Veien. (The Sorrow. The Song. The Way.; 1987) and En som het Abel Ek (Alone. Abel Ek; 1988) are darker, more existential collections focusing on closeness, sorrow and death. Yet En som het Abel Ek has a lighter note, and it emphasises that living through sorrow can open a path to joy. Both collections show the simple, dialogic and anti-metaphorical expression of Jan Erik Vold, an expression which is mathematically worked out and well accomplished.
With Elg (Elk; 1989) he published his most extrovert and popular collection, in which his political engagement across all ideologies came forth. Here, we find poems of malice and jabs at established politicians, as well as a well-worded anxiety about Norway losing its identity.
Norwegian saxophonist Jan Garbarek's icy tone and liberal use of space and long tones has long been perfect for the ECM sound and, as a result, he is on many recordings for that label, both as a leader and as a sideman. He had won a competition for amateur jazz players back in 1962, leading to his first gigs. Garbarek worked steadily in Norway throughout the remainder of the '60s, usually as a leader but also for four years with George Russell (who was in Scandinavia for a long stretch). Garbarek began recording for ECM in the early '70s and, although he had opportunities to play with Chick Corea and Don Cherry, his association with Keith Jarrett's European quartet in the mid-'70s made him famous, resulting in the classic recordings My Song and Belonging. In the '80s, Garbarek's groups included bassist Eberhard Weber and at various times, guitarists Bill Frisell and David Torn. Garbarek, whose sound has remained virtually unchanged since the '70s, collaborated with the Hilliard Ensemble in 1993 (a vocal quartet singing Renaissance music) and the result was a surprisingly popular recording. Visible World followed in 1995, and four years later he resurfaced with Rites. In April of 1999, Garbarek and the Hilliard Ensemble returned with Mnemosyne. He issued In Praise of Dreams in 2004, and finally released his first live album as a leader, Dresden, in 2009. In 2012, ECM released the live archival recording Magico: Carta de Amor, by the Magico trio that also included guitarist Egberto Gismonti and bassist Charlie Haden.
Jan Erik Vold introduced an intuitive and global poetry in his collections Tolv meditasjoner (Twelve Meditations; 2002) and Drømmemakeren sa (The Dreammaker Said; 2004). His latest collection, Store hvite bok å se (Big White Book to See), which was published in 2011, continues in this vein.
Norway’s leading poet, Jan Erik Vold was born in 1939 in Oslo. Known for his urbane lyricism—fingering the ivory petals of poetry and jazz—Vold intoned the sixties—“laughing with one eye, crying with the other.”
For starters—Vold cut Briskeby Blues with Jan Garbarek’s quartet and Telemark Blue with Chet Baker in Paris. A remarkable roulette—“cashing in the chips—where the real work begins.”
A poet of nature—lashed to the birth of the cool—Vold doesn’t bother to put on a new roof. “I like the bark of the tree, its lack of pattern—the roads tried out—and those that remained.”