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It’s an impassioned and fiercely improvisational collection of variations on powerful themes by all three, touching on Haden’s Liberation Music Orchestra repertoire and Garbarek’s free-jazz history. It also showcases Gismonti as a lyrical and abstract-effects guitarist, an inspired composer and a resourceful, Jarretish pianist.
John Fordham, The Guardian

The trio might seem an unlikely one: the American bassist Charlie Haden, Nordic jazz-folk saxophonist Jan Garbarek, and the Brazilian spark of Egberto Gismonti on guitar and piano. But they gel perfectly as they explore tunes mostly from their two studio sets. Garbarek in particular, has rarely sounded better.
John Bungey, The Times

The roots of these exquisite improvisations are in folksongs from Norway, Brazil and even the Spanish Civil War imbuing the programme with a melancholy wash of colours and ever changing shades. It doesn’t mean the playing is loose – indeed the intensity, suspense and release is what makes this music so arresting. Posted over 30 years ago, Carta de Amor was worth the wait.
Garry Booth, BBC Music Magazine

Nach zwei Jahren ‘on the road’ absorbierten die Drei jedes Quäntchen Energie, Fantasie und Spielfreude voneinander, zelebrierten die Kunst des Hörens und reagierten auf jeden Fingerzeig. Oft genügten zwei beseelte Noten, um sich in ein neues Klanguniversum forttragen zu lassen.
Reinhard Köchl, Jazzthing


There is a magical sparkle to this glossy live recording from 1981 of a renowned trio shifting mood and cadence at will. A single note turns optimism to mournful lament and one rising scale morphs lyricism to discordant inquiry.
Mike Hobart, Financial Times

The Brazilian Gismonti, who can make the guitar sound like a piano and vice versa, remains the dominant voice but what grabs you is the emphatic interplay between all three.
Phil Johnson, Independent On Sunday

Le trio, justement dénommé „Magico“, déploie autant d’inventivité que de sensibilité sur des compositions issues en majorité de la plume du Brésilien. Et dont on retiendra (entre autres) un mervieilleux ‚Don Quixote’ où Gismonti donne au clavier toute la mesure de son gigantesque talent.
YannMens, La Croix

Un matériau contrasté qu’une imagination débridée élève au rang de pure poésie.
Francisco Cruz, Jazz News

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