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The challenge facing any longstanding group is retaining its core qualities while remaining contemporary and vital as the years pass. Oregon may well be the longest-running group in jazz today, with three of its four members together since its inception in 1970. Its ability to combine detailed composition with near-telepathic free improvisation can still be heard on 1000 Kilometers, the group’s 24th recording, but what’s also immediately evident is a group that’s by no means standing still. Had original percussionist/sitarist Colin Walcott not died in a tragic accident in 1984, it’s a near certainty that he’d still be playing with woodwind multi-instrumentalist Paul McCandless, guitarist/keyboardist Ralph Towner and bassist Glen Moore today. Still, drummer/percussionist Mark Walker has been with the group for more than a decade, so it’s time to stop considering him the new kid on the block. Opening 1000 Kilometers with his propulsive and Latinesque “Deep Six”—Walker’s first tune to be featured on an Oregon record—it’s clear that he’s an integral part of the group’s current soundscape. It may be only possible to fully appreciate his remarkable ability to combine a conventional drum kit with an array of hand and electronic percussion when seen in performance, but it’s become a new fundamental for the group, one of many factors that keeps Oregon from being caught in a stylistic time warp.

Towner remains the group’s primary composer. New pieces—the Mediterranean-inflected “Catching Up,” a beautiful guitar/reed duet with McCandless on the all-too-brief “From a Dream,” and the elegantly pastoral title track—find Towner’s distinctive and recognizable harmonic voice and ability to write challenging yet unforced material intact. The dark-hued and somewhat ambiguous “Simone,” first heard on Towner’s Anthem (ECM, 2001), demonstrates how a solo guitar piece can be re-orchestrated for a group by breaking out its individual components. As always, Moore is the dry humor beneath Oregon’s normally serious veneer. “Back Pocket” is a light-hearted duet with Walker, where Moore’s robust tone and imaginative ideas groove hard alongside a loosely played backbeat.

“The Bactarian”—one of Moore’s most compelling pieces—is bolero-like, a 23/8 pattern that blends Towner’s synth pads and a simple melody to provide the grist for a strong solos from McCandless and Towner. McCandless’ energetic “Bayonne” shows just how well Oregon has integrated technology since first abandoning the all-acoustic approach of its early days on Oregon (ECM, 1983), featuring McCandless’ most dramatic solo of the set. No Oregon album would be complete without some free improvisation. “Free Imp” is spacious but angular, while “Restless Imp” demonstrates the same kind of magical spontaneous composition as “Buzzbox,” from In Performance (Elektra, 1980). With so many milestones in its discography it’s difficult to assess any new Oregon album in comparative terms. Still, 1000 Kilometers easily stands alongside the group’s best, and proves that, despite the appearance of being long in the tooth, Oregon still has plenty to say.

Www.allaboutjazz.com John Kelman. Throughout their long existence, Oregon have consistently performed music that is difficult to categorize. Some of their acoustic ventures, particularly in the group's earlier days, could be considered 'world jazz' or 'folk-jazz' due to the unusual instrumentation, avoidance of conventional blue notes, and original pieces. On 1000 Kilometers, there are times when the group actually sounds close to Weather Report in the 1970s, particularly when electronics and Paul McCandless' soprano are utilized. But there are also performances that sound far from Weather Report, focusing on Ralph Towner's acoustic guitar, McCandless' other instruments, and the rhythm team of bassist Glen Moore and drummer Mark Walker. The music constantly keeps one guessing, and although McCandless is generally the lead voice in the ensembles, all four musicians make strong contributions. 1000 Kilometers is a fine effort from a very unique band.

Consistency doesn’t always have to be the infirmity of lesser minds. Oregon – Paul McCandless (reeds), Ralph Towner (classical guitar/piano), Glen Moore (bass), and Mark Walker (drums/percussion) – have functioned at a high level for so long that excellence is taken for granted. By their audience, perhaps; certainly not by them. Instrumental virtuosity is a given, but another constant is the evidently shared pleasure in music-making.

No doubt, the congenial blend of personalities helps, but a factor must also be the contribution that Towner’s diverse originals, among others, make to the band’s sense of renewal. “1000 Kilometers” offers Spanish, north African and classical flavours, even a touch of country hoedown.

The music is spacious, rustic, open, (two pieces are freely improvised) and impeccably performed. One for aficionados.

The Irish Times Ray Comiskey. Oregon, one of the first jazz-sympathetic bands to embrace world music without compromising spontaneity or sources, will be 40 years old in 2010.

The original quartet of unplugged virtuosi made a series of scintillating albums from 1970 to 1984 embracing jazz, classical, Asian and Native American material. Then its visionary percussionist Collin Walcott died in a road accident, and an unsteadier momentum since has included insinuations of a drift toward classy easy-listening. 1000 Kilometers (from the original surviving members plus drummer Mark Walker) doesn't exactly recapture their unique mellifluous dignity. But guitarist/pianist Towner's talents are still a big strength, and two-thirds of these pieces are his, from Latin swingers given the Oregon stamp by Paul McCandless's pure reeds tone, to the thoughtful title track. Two collectively generated pieces, richer in improvising, are the subtlest explorations of Oregon's special tonal palette, however. The Guardian John Fordham. If you only heard the disc’s opener “Deep Six” with Paul McCandless playing soprano saxophone and not his usual oboe, bassoon or clarinet, you’d never know you were hearing Oregon, the greatest of all jazz/classical/folk fusion bands (mostly because there are precious few others.) Once into the rest of the disc, though, you are in familiar, poetic and rhapsodically pastoral musical territory.

The death of the group’s original percussionist Collin Walcott in a 1984 car crash while on European tour forced a musical identity crisis resulting, a couple decades later, in something like “Bayonne,” whose electric slickeries and backbeats from drummer Mark Walker would once have been unimaginable. Their collaborative sensitivity, though, remains — and remains a wonder at that. Www.buffalonews.com J. Dedicated to their recently deceased agent Thomas Stowsand (1000 kms equals one Stowsand in Oregon speak, as their agent frequently sent them on long distance gigs), “1000 Kilometers” remains a life-enhancing album despite its sad genesis. This is Oregon in their purest form: no orchestras or dabbling in electronics, even their (in)famous meanderings into ‘world music’ forms are restrained. Instead we have intimate, chamber-like composition and free improvisation laced with melodic themes and free wheeling, free thinking group meditations. Towner, as is his wont, plays more piano than guitar, but that bare, romantic keyboard work remains impressive, especially set against Moore’s spare pulses, (check out ‘The Bactrian’, a tune which like its camel namesake, travels great distances with little apparent melodic nourishment).

The guitar is all the more impressive for its rarity, sweetly flourishing against the nervous rhythms of ‘Catching Up’ and Walker’s pressing hand drums. There are occasional synth washes, as on ‘Relentless Imp’, which also intimates an eastern feel in McCandless’ keening horn, but in the whole it’s the band’s ability to drive on urgently with unadorned acoustic instruments, as on the opening ‘Deep six’, all cowbells and big piano chords, that remains so striking about this unique band. Jazzwise Andy Robson. Although many jazz musicians, among them Ellington and Coltrane, had already incorporated non-American strains in their music, Oregon, at its formation in 1970, was one of the first groups to devote its attention to developing a fusion between jazz and ethnic music, long before the expression “world music” had been conceived. That sounds has changed over the years, to the extent that more recent editions of the group have produced music which, though still acoustic, comes close in content to the plugged-in jazz most commonly associated with the term “fusion”. The opening track here is a case in point, its urgent, pulsating ostinati, complex chromatic harmony and tight unison lines more redolent of downtown New York than the wide open spaces one imagines would inspire a folk-jazz group.

McCandless’s “Bayonne” is another example, featuring an ingenious chord sequence and incisive solo works by Towner and McCandless. On occasion it’s also the nearest the group come to smooth jazz, but its sharp corners will save it from the MoR playlists. “Catching Up” is similarly purposeful, combining a subtle rock ostinato and baroque phrasing with a detailed and exquisitely executed parade of dynamic and textural variation. However, the control and preparation found in these pieces isn’t evident throughout the record. If there’s a reservation about this band, it’s its tendency to lose focus when given free rein in an improvising situation. This is perhaps most apparent on the title track.

At ten and half minutes with long solos delivered over a slow-moving, folky modal sequence in simple time, it overstates its case. Similar caveats attend “The Bactrian”, in which a funereal ostinato over a martial beat is modulated through various keys for eight minutes and noodling solos suggest a paucity of compositional imagination. ON the other hand, if “Deep Six” and “Bayonne” represent the perfect medium for the group, at the other extreme are the striking miniatures “From A Dream” (1:02) and “Free Imp” (1:46), the latter a brittle free improvisation which forms a welcome contrast to the cloying sweetness found elsewhere. In these pieces, nothing is wasted.

In any event, repertoire and interpretation aside, the set is to be relished for some stunning musicianship. In particular. McCandless has focused solos on “Deep Six” and “Bayonne” and the multi-talented Ralph Towner shines just about everywhere, whether playing guitar or piano or providing carefully crafted orchestration form the keyboard or guitar synth. Jazz Review Mark Gilbert.

It's easy to take for granted a band that's been around half as long as Oregon-or, worse, lose track of it all together. But as a recent East Coast swing illustrated, and as 1000 Kilometers quickly reaffirms, the innovative quartet still occupies a unique niche in American music after all these years. Over 35 years in the making, the ensemble's instrumental weave, colored by jazz, classical and world-beat colors, shows no signs of fading on this collection of newly composed original tunes. The renowned band’s second release for this record label is a tribute to its European booking agent Thomas Stowsand, who passed away on October 5, 2006.

In fact, he was considered an “honorary member.” To that end, the musicians most notably gave it their all here. Sure enough, it’s one of Oregon’s finest albums in years, which might loom as a rather bold statement given its voluminous discography. Mark Walker handles the percussion duties on this multifaceted set which symbolizes the band’s signature sound amid nicely arranged fusions of chamber, jazz and world music motifs. The classic Oregon vibe is intact via Paul McCandless’ somber oboe lines and the band’s endearing storylines that are often firmed-up with enchanting melodies. But they rev it up on various pieces engineered with peppy percussion grooves, buoyant jazz-folk phrasings and thought-provoking thematic episodes. Acoustic guitar great Ralph Towner switches over to piano within various movements, where the band generally works through climactically-oriented arrangements.

On “Simons,” McCandless’ drifting soprano sax lines tell the tale of a faraway land, underscored by Towner’s supple guitar voicings and Walker’s gentle use of small percussion implements. Vivid imagery is abundant. However, Glen Moore stretches out during the zesty bass-driven groove “Back Pocket.” And one of the many highlights of this disc is Towner’s piano-led Bolero type progression 'The Bactrian,' nicely contrasted by McCandless’ lower-register accompaniment. There you have it: A fantastically moving musical event, but should we expect anything less? Perhaps not Jazz Review Glenn Astarita. Since releasing its first album in 1970, Oregon's hybrid of sound and style has pushed and pulled at the boundaries of jazz. With its newest album '1000 Kilometers' the quartet continues to mine a musical ground that's all of its own.

Anchored by founding members Paul McCandless, Ralph Towner and Glen Moore, the current incarnation is rounded out by Mark Walker on drums/percussion. The opening 'Deep Six' hints at the early fusion of Weather Report and is immediately followed by the classically influenced chamber jazz duet 'From A Dream'. The dichotomy of this first five minutes of music highlight that the group remains unencumbered by boundaries. More impressive still is the grace and ease with which it effortlessly traverses such a range of styles.

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The collective improvisations 'Free Imp' and 'Restless Imp' are joined by the bass/drum duet of 'Back Pocket' in illustrating a collective, continuing unabated love of musical adventure. The title track is epic in its scope and evokes some of the great music the group recorded for ECM in the mid '80s. Towner reprises the tune as an introspective solo piano piece to close the disc. 'Catching Up' features Towner's vintage classical guitar work. The singularity of his style on both piano and guitar throughout the disc is an important element in the depth and breadth of the group's sound. '1000 Kilometers' is a record that will satisfy longtime fans while beckoning those unfamiliar with the band into the fold. Wonderful example of 'cerebral' jazz, intellectual offering that find its way to your heart through your brain.

THE SARATOGIAN James Lamperetta. O's Notes: Oregon is Paul McCandless (oboe, cl, English horn), Ralph Towner (g, keyboards), Glen Moore (b) and Mark Walker (d, perc). This is the latest in a successful stream of albums over the last 30+ years. They play syncopated rhythms that are as simple as the duet on 'From A Dream' to the bouncy beats of 'Catching Up'. There is always enough air around each of the musicians to allow us to enjoy each instrument and the band in total. The program includes enough variation with tempo and groupings to keep the listener engaged.

Game neighbours from hell. That seems bad, but believe me, that's nothing compared to the antics awaiting you, and your neighbours, in this game.

Oregon plays jazz-fusion that is easy to digest. It is peaceful music but with all of the creativity and energy of any jazz set. O’s Place Jazz Newsletter editorial. I know this group has been around for decades, has toured the world playing to loyal fans, and even bears the name of our beloved state. Their music, highly original and sometimes sounding as though its roots are in the classical arena, is usually a bit too cerebral for me.

To be blunt, I find myself asking, 'When do they swing?' On the positive side, Paul McCandless could give lessons on soprano sax to all the smooth jazzers, and Ralph Towner contributes some solo piano work that one has to admit is impressive. JAZZSCENE (Jazz Society of Oregon) editorial. Like the Paul Winter Consort from which it spawned years ago, Oregon traffics in a brand of jazz with any and all rough corners smoothed away. Tempos never get too heated, and solos stay safely inside the comfort range of the chords, which is enough to make you forget how skillfully they fuse jazz with nonwestern music. Dig the way Ralph Towner’s flamenco-ish guitar lines flip and trill over the tiniest accents in Mark Walker’s swing rhythm in “Bayonne,” while Glen Moore works an entirely different counterpoint line on double bass: It’s all like a hi-diver zeroing in on a mini trampoline amid gale-force winds. Like the rest of Oregon’s two dozen or so albums, Towner handles most of the songwriting, but all members contribute including Walker (“Deep Six,” cut from classic ECM-style cloth, is the drummer’s first tune for the group).

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The variety of voices here never distracts from the disc’s low-key, fireworks-in-the-details vibe; meanwhile, the disc’s pan-cultural savvy makes a convincing case for fusion being alive and well, even without the pomp associated with the bellbottoms-and-electric violins era. Signal to noise Nathan Turk. On their second Cam Jazz release, Oregon dedicates their music to their friend and agent of 30 years, Thomas Stowsend, who died on October 5, 2006. Their eclectic jazz-based mix of straight-ahead jazz, swing, folk, Latin and Middle Eastern motifs dates back to 1970 when reedsman Paul McCandless, bassist Glenn Moore, guitarist/keyboardist Ralph Towner and percussionist Colin Walcott (who died in 1984 in a car crash) founded this band after performing in Paul Winter Consort. Trilok Gurtu (1985-mid 1990s) replaced Walcott and upon Gurtu’s departure, the band performed as a trio until 1996, when Mark Walker joined to form the quartet again. Band members composed all of the music and their 11 palatable originals maintain the recognizable sound Oregon established over more than 30 years of performing. This is a fair-minded group with each member getting ample time in the spotlight.

The sonorous title tune by Ralph Towner (so-named for the times they had to drive that far to reach the next concert venue) lasts for 10:28 minutes and features a repeating piano riff and McCandless’s soprano sax solos. It’s reprised in the 2:03 minute finale, track 12, but performed as a piano solo by Towner. Four tunes last from one to slightly over three minutes and while diverse and catchy, they are so short as to seem like undeveloped ideas. Over the years, Oregon has recorded on various labels, including Vanguard, Elektra, ECM, and Intuition.

This enjoyable recording on the independent Italian label is reminiscent of their earlier quartet recordings and proves the band is as strong as ever in their quest to take modern music to new places. An attractive 16-page liner booklet with two-page photo spreads on each musician caps off the package. Jazz & Blues Report Nancy Ann Lee.

The members double on many different instruments to come up with a wider range of sounds that you would expect from the typical jazz quartet. Sorry I missed Oregon’s 24th album in over 35 years when it came out last year, but better late than never, plus they’re appearing here in Oregon towards the end of April. The unique quartet, which has been an influence on world music and New Age music as well as jazz, came together originally at the University of Oregon in the early 1960s. McCandless and Towner were also part of the Paul Winter Consort for some time. The members double on many different instruments to come up with a wider range of sounds that you would expect from the typical jazz quartet. Towner plays many different kinds of guitars, with up to 12 strings, plus keyboard sythns.

McCandless is a reed man extraordinaire - bringing to Oregon the special timbres of soprano and sopranino sax, oboe, English horn, bass clarinet, and various flutes. The title they gave their CD is tied in with the album’s dedication to their former European agent Thomas Stowsand, who died recently. When they were on the tours he organized over the years, they would sometimes have to drive over 1000 kilometers from one concert venue to the next.

They began to call such a distance a 'Stowsand' in grumbling tribute to him. Most of the dozen tracks are compositions of Ralph Towner, though each of the other three members also gets in one original from their own pen, and another is credited to the band as a whole.

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All are varied and strikingly original, ranging from only one minute length to the longest - the CD’s title tune at ten-and-a-half minutes, giving everyone plenty of time for interesting solo work. Sonics are clean and immediate; the recording session took place in Germany during one of Oregon’s typical European tours. AUDIOPHILE AUDITION John Henry.