I have almost four thousands CDs in my collection. I picked out Elixir by Marilyn Mazur with Jan Garbarek. It's not a new release, songs have been recorded in June 2005 but it's a fundamental record for my listenings. It's the perfect example of artistic cooperation that could also be defined as a "perfect artistic symbiosis", i.e. close dependence between two artists. It's amazing how Marilyn Mazur percussions are supported only for short sessions and when necessary by the saxophone or the flute of Jan Garbarek. Marilyn is wonderful because she has a very deep relationship with her innumerable instruments; those that require a soft touch - for example in track 5 " Bell-Painting" and 8 " Metal Drew"- and those that are more physically challenging like the big drums that she hits with impressive strength in tracks 6 "Elixir" and 9 "Mother Drum". In every song she conveys a sensibility that is typical of the feminine universe rather than the masculine one overwhelmed by rhythm and strength.
The opening track, "Clear", when listened to in the ideal conditions (i.e. alone and with the volume quite high) makes me feel deeply relaxed and makes me forget about the problems of the day within the space of a gong hit. Garbarek is usually the leader of other groups in which Marilyn cooperates but in this record takes for himself a complementary role. I like it best when he uses a tenor sax that has a fascinating sound and seeks enchanted atmospheres. Playing the soprano, he sometimes insists on keys that some people might not like. The same Soprano sax that I must admit is magical in his masterpieces Twelve Moons, Visible World or In Praise of a Dream.
The fault that this record has is that ... technically, it's absolutely perfect! And I want to stress on the very high sound quality that this record has achieved. The issue is that using it so often as a referral for listening to new equipment, some of its appeal gets lost. Tracks 1, 9 and 15 can be a very hard test for set-up. If mid-range loudspeakers are not good the sound will result penetrating and annoying. If the amplifier-speaker matching is dull, the big drums of "Mother Drum" will be bloated and gloomy. Track 15 " Talking Wind" is the hardest, musically speaking. It requires speed, control and tonal balance but startles the most unwary guest for its transparency. It represents the perfect synthesis of what I judge the fundamental parameter of a good audio system: reliability. You got to have the sensation of having Marilyn in your room, beating like crazy on her percussions - despite feminine fragility. If you get only noise and unease, there must be something wrong, believe me.
I have no definitive conclusion, just a suggestion: find it and take it home with you (ECM 1962). Take an hour or so for yourselves and listen to it and then, if you want, let me know your impressions.
