Among the many stylistic twists and turns negotiated by Jan Garbarek early in his career, the subtle shift in direction from the previous, spectacularWitchi-Tai-Toto Dansere was probably the most decisive. In fact, Dansere, recorded in 1975, was one of the first examples of what would come to be known as the "ECM sound," not so much for the usual crystalline recording quality but for a creeping, languidly pastoral sensibility that would become more and more prominent both in Garbarek's own work as well as in the label's releases in general. Still, that granola and Birkenstock aura is subdued enough in this album to grudgingly recommend it to fans of his earlier work. BassistPalle Danielsson, while less angular and experimental thanArild Andersen, provides a solid and propulsive foundation for Garbarek and Stenson, the former tending to increasingly rein in his playing as the influence ofAlbert Ayler, so prominent in his first albums, continued to wane. Instead, one can hear traces ofKeith Jarrett　, with whom Garbarek had recently been working and, indeed, much of　Danserecompares favorably withJarrett's quartet work from around the same time. Fans of his subsequent work with theHilliard Ensemblemight find this relatively tough sledding while lovers of albums likeTryptikoncould well hear excessive smoothness, but it stands up decently enough on its own merits.