By 1968, Norwegian jazz singer
Karin Krog was already an international star. She had already won her country's most prestigious jazz award, the Buddy, had performed in the U.S. with
Claire Fischer and
Don Ellis, and had won a Talent Deserving Wider Recognition award in the 1966 Down Beat poll. She had also recorded three albums under her own name by this time. The recording of
Joy with then-young lions
Arild Andersen on bass,
Svein (Jon) Christensen on drums, saxophonist
Jan Garbarek, pianist Terje Bjorklund and percussionist
Espen Rud signified a change in direction, from her previously straight swing and bop performance method. The set opens provocatively, even shockingly for the time with
Annette Peacock's "Mr. Joy," a paean to a personal "toy" driven by Bjorklund's modal piano. The most groundbeaking cut here, "Karin's Song," is an improvisation guided by
Garbarek, who had been a member of
Krog's band since 1966. A vanguard piece that works on two juxtaposed modes, it features Bjorklund's piano offering thick layers of tonally stretched chords and
Krog alternately scatting, growling, and moaning before and after
Garbarek's thoroughly outside soloing. One who hears
Garbarek's playing here will be shocked that this is the same person whose mannered playing graces so many ECM recordings from the 1970s into the 21st century.
Garbarek and Bjorklund are absent on "'Round Midnight." The cut is led by
Andersen's bass in duet with
Palle Danielsson and accompanied only by Christensen's shimmering brushwork.
Krog's singing is bluesy, icy cool, mysterious, and utterly original. The dual bass playing here is astonishing as counterpoint underscores every sung line elongating them in the process. "Maiden Voyage," by
Herbie Hancock comes off as a swinging piece of jazz psychedelia with
Garbarek doing his best
Paul Desmond in the intro and
Krog moaning to match his lines tonally, displaying fine control. The tune flows and changes shapes, aided by reverb on the voice while indulging fascination with Eastern modalities. The
Garbarek solo is wonderful; alternating between dry, muted coolness and restrained out blowing before the crystalline lines of Bjorklund's piano shimmer through the center. This is a remarkable and timeless record, showcasing
Krog's considerable gifts and the acumen of a great group of young jazz players. ~ Thom Jurek