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2018
Tord Gustavsen - pian
Sigurd Hole - contrabas
Jarle Vespestad - tobe
“This is the chill-out as a state of grace, and it can go as deep as you like. Sublime,” wrote the Independent on Sunday of the Gustavsen’s trio’s Being There, released in 2007.
Over the last decade Tord has explored other ensemble forms and formats, but on The Other Side - recorded at Oslo’s Rainbow Studio in January 2018 – he opens a new chapter in his piano trio story, with faithful drummer Jarle Vespestad, and excellent new bassist Sigurd Hole. Hole’s approach to his instrument, drawing on folk influences as well as modern jazz, is ideally suited to Gustavsen’s slowly-developing, deeply melodic pieces. The album, produced by Manfred Eicher, is issued on the eve of a major tour.
Pentru prima data pe vinil !
Nils Petter Molvaer - trompeta, chitara electrica, chitara bas, percutie, sampling
Eivind Aarset - chitara electrica, efecte, ambient treatments
Ulf W. O. Holand - sampling
Morten Molster - chitara electrica
Roger Ludvigsen - chitara acustica, percutie, dulcimer
Rune Arnesen - tobe
Reidar Skar - sampling, claviaturi
ecmreviews:
"Khmer marks a monumental occasion: namely, the debut leader date of Nils Petter Molvær. Fresh off the boat of Small Labyrinths, the Norwegian trumpet player came out of left field with one of those rare albums that becomes second nature after only one listen. NPM, as he is also known, epitomizes ECM’s transcendental spirit with a collage of unbridled passion and integrity. Combining influences as diverse, if not also as intimately connected, as rock, ambient, dub, techno, and jazz, he deploys his mercurial fleet in a sea of samples, breakbeats, and smooth dives. Also carrying over from the Small Labyrinths session is hard rocker Eivind Aarset, who bookends the album with his e-bow guitar treatments and foils the delicate additions of free improviser Morten Mølster along the way. Mari Boine band regular Roger Ludvigsen adds six strings and more, playing prepared guitar and dulcimer, and along with drummer Rune Arnesen fleshes out the band’s acoustic signature. Yet it is keyboardist Reidar Skår and co-producer Ulf W. Ø. Holand who give the music just the kick it needs to hit the ground running. Holand, whose Lydlab is two floors above Oslo’s hallowed Rainbow Studio, provided samples and enough studio time to help shape the album into what it has become, while Skår brought his magic touch to said samples and others, manipulating them into an organic whole. The result is a classic that fits snugly alongside ECM’s all-time best.
2016
Nik Bartsch - pian
Sha - bas clarinet, contrabas clarinet
Kaspar Rast - tobe, percutie
Nicolas Stocker - tobe, percutie
Etienne Abelin - vioara
Ola Sendecki - vioara
David Schnee - viola
Solme Hong - violoncel
Ambrosius Huber - violoncel
Few musicians have continued to hone a concept as singularly unique and instantly recognizable, irrespective of context, as that being explored by Swiss pianist Nik Bärtsch since he first formed Mobile with Don Li, Kaspar Rast and Mats Eser in 1997. First emerging on record in 2001 with Ritual Groove Music (Self-Released, reissued Ronin Rhythm, 2006), Bärtsch has evolved three very different contexts with which to explore the confluence of trance-inducing minimalist elements with rigorous, ritualistic compositional constructs, a deep interest in Japanese culture and other musical touchstones. While all three contexts—in addition to the all-acoustic Mobile, Bärtsch has performed and recorded as a solo pianist, as well as with the more elastic and jazz/funk-centric Ronin—share common DNA-level elements, each context is also different: refracting Bärtsch's underlying architectures through a series of disparate prisms.
2017 -
Bill Frisell - chitara electrica
Thomas Moran - contrabas
But, most importantly, Small Town represents the guitarist's first recorded encounter with Thomas Morgan in the intimate setting of a duo, the double bassist having first shown up on Frisell's film soundtrack homage, When You Wish Upon a Star (Okeh, 2016). As superb as When You Wish Upon a Star undeniably is, it's in the more naked, completely vulnerable environs of the duo—where the need for musical trust is, perhaps, at its most crucial—that the profound chemistry shared by these two thoroughly synchronized players becomes even clearer.
2019 -
Bill Frisell - chitara electrica
Thomas Moran - contrabas
Like their acclaimed ECM release Small Town of 2017 – which The Guardian called “wistful and mesmerizing… tonally ingenious and haunting” – Epistrophy by guitarist Bill Frisell and bassist Thomas Morgan was recorded at New York City’s Village Vanguard. The new album once again captures the rare empathy these two players achieve together in this intimate environment. There are further poetic takes on pieces from the duo’s Americana songbook (“All in Fun,” “Red River Valley,” “Save the Last Dance for Me”), as well as another intense version of a composition by Paul Motian (“Mumbo Jumbo”), an artist whom both the guitarist and bassist knew well. Frisell and Morgan communicate the essence of Billy Strayhorn’s “Lush Life” and the Frank Sinatra hit “In the Wee Small Hours of the Morning,” so much so that the famous words seem to hang in the air even without a singer. At the center of the album is a pair of pieces by Thelonious Monk: the funky, angular “Epistrophy” and the ruminative ballad “Pannonica.” And as with “Goldfinger” on Small Town, Frisell and Morgan offer a glowing duo interpretation of a melody-rich John Barry title tune from a James Bond film – “You Only Live Twice.”
Pentru prima data pe vinil !
Anouar Brahem - oud
Francois Couturier - pian
Jean-Louis Matinier - acordeon
The album is like a sad rhapsody, full of shadowy mirages and blue echoes, the prevailing melancholy not dour and heavy but rather light and cloudy. Names like Satie, Debussy, Mounir Bachir, even Eno in acoustic mode keep flashing across your mental screen as you listen. This is academy music with no clothes on, naked and awkward, honest and beautiful. Shut your eyes and you could be in the port of Dar el Baida, a seagull swooping over a grey-blue sea and huge cranes and rusty hulled freighters in the background, the light and forgetful breeze brushing your cheek. Le pas du chat noir features uncontrived performances of cat-like agility – soft, bright-eyed and magical. It is a brilliant piece of work. [ Andy Morgan, Songlines ]
2010
Mathias Eick - trompeta
Andreas Ulvo - pian
Audun Erlien - bas
Torstein Lofthus - tobe
Gard Nilssen - tobe
Morten Qvenild - claviaturi
Tore Brunborg - saxofon tenor
Sidsel Walstad - harpa
A larger lineup and more detailed arrangements while never losing the lyrical path of the soloist the work is consistently revolving around. Textured layers of lyrical inventiveness. Engaging. While the admitted influences of this release range from calssical to pop, it is the brilliant use of these “pop sensibilities” that make “Skala” a sonic delight. [ Brent Logan Black, Digital Jazz News ]
1977
Terje Rypdal - electric guitar, keyboard, synthesizer
Palle Mikkelborg - trumpet, fluegelhorn, RMI, tac piano, ring modulator
Sveinung Hovensjo - basses
Jon Christensen - drums, percussion
Terje Rypdal’s Waves (recorded 1977) announced the beginning of the Norwegian guitarist’s association with Danish trumpeter Palle Mikkelborg, which continues to this day. The album also introduced one of Terje’s most enduringly popular pieces, “Per Ulv.” “Rypdal’s album is a series of sonic excursions ranging from the expressionist to the impressionist…” wrote Record World. “Rypdal’s guitar and Mikkelborg’s trumpet are well-matched, with Manfred Eicher’s typically superb production putting it all in focus.”
Initially published in January 1978, vinyl is reissued in October 2016 as audiophile pressing taken from the original analog tapes.
2017
Anouar Brahem - oud
Jack DeJohnette - tobe
Dave Holland - contrabas
Django Bates - pian
‘Blue Maqams’ will not only go down as one of the year's best ECM Records releases; it's a classic-in-the-making that should ultimately be considered one of the label's very best recordings in its nearly fifty-year history. [ John Kelman, All About Jazz ]
This glitzy lineup features his bass-playing soulmate Dave Holland, drums star Jack DeJohnette, and a wild card in the form of the UK’s Django Bates on piano. The result achieves a spellbinding balance between gently melodic Mediterranean song forms and the one-touch rhythmic elasticity and melodic ingenuity of the best jazz. The presence of Bates (producer Manfred Eicher’s idea, Brahem never having heard the English maverick before) is an inspiration, for his lyrical restraint, creative spaciousness, and diverse references. […] It’s a real meeting of hearts and minds. [ John Fordham, The Guardian ]
Testeaza in showroom Cotroceni
1990
Jan Garbarek - saxofon tenor si sopran
Rainer Bruninghaus - pian
Eberhard Weber - bas electric
Nana Vasconcelos - percutie
Manu Katche - tobe
Bugge Wesseltoft - sintetizator
Ingor Antte Ailu Gaup - voce
ecmreviews:
"By 1990, Jan Garbarek had for decades been searching for that one key, navigating a landscape of peaks and valleys, only to find it slumbering within the runes which, with this album, he eponymously took up. [...]
Balancing note and movement, Garbarek hones something truly special in the five-part “Molde Canticle,” which draws out the album’s deepest anatomies. Above all, the piece is about time. It speaks in a language that moves us. The gyroscopic quality of Part 2 hums around the centrifugal force of Garbarek’s lyricism as he scales ever higher.
Pentru prima data pe vinil !
Manu Katche - tobe
Tomasz Stanko - trompeta
Jan Garbarek - saxofon tenor
Marcin Wasilewski - pian
Slawomir Kurkiewicz - contrabas
Ruminative, soulful and always melodic, this is cool jazz with a fiery heart.[ John Bungey, The Times ]
2018
Nik Bartsch - pian
Sha - bas clarinet, saxofon alto
Thomy Jordi - bas
Kaspar Rast - tobe
Bärtsch speaks of a new-found freedom and flexibility in the approach to the material, with “greater transparency, more interaction, more joy in every performance”. The freedom here extends to revisiting earlier Bärtsch modules alongside new compositions including, for the first time on a Ronin record, a piece by reedman Sha. “We’ve spent a long time working on the new repertoire, really checking out and fine tuning all the details.”
Awase, a term from Aikido, means “moving together” in the sense of matching energies, a fitting metaphor for the dynamic precision, tessellated grooves and balletic minimalism of Ronin today. In the old band, Bärtsch often chose to present Björn Meyer’s flamboyant 6-string bass as a lead instrument. Thomy Jordi’s 4-string bass guitar tends to be deployed within the fabric of the pieces, creatively fulfilling a more traditional bass function and locking in with Kaspar Rast’s powerful drums. With Bärtsch also scaling back his own solo playing, listeners are encouraged to hear the whole music and its layered, shifting approach to interaction in new ways.
Testeaza in showroom Cotroceni
1973:
Chick Corea - pian
Gary Burton - vibrafon
The Corea/Burton duo was brought together by producer Manfred Eicher, and Crystal Silence (recorded in 1972) brought a new chamber music sensibility into jazz improvisation, distinguished by an effervescence of melody and countermelody, with synchronized cascades of sound in continually changing harmonic movement. “It becomes a little magical,” said Corea. Stereo: “Crystal Silence is an album of extraordinary musicianship and rare beauty. Rarely have two musicians been so perfectly matched and rarely do we hear an album of such consistent excellence and originality. “
Initially published in April 1973, vinyl is reissued in April 2017 as audiophile pressing taken from the original analog tapes.
A new ECM studio album and a programme of new music from Terje Rypdal is cause for celebration. On Conspiracy the great Norwegian guitarist seems to reconnect with the wild inspiration that fuelled such early masterpieces as Whenever I Seem To Be Far Away, Odyssey and Waves, exploring the sonic potential of the electric guitar with both a rock improviser’s love of raw energy and a composer’s feeling for space and texture.
1990-1991
Paul Giger - vioara
Jan Garbarek - saxofon tenor si sopran
Pierre Favre - percutie
"Violin virtuoso Paul Giger revisits his roots with this, his second solo recording, Alpstein, which features pieces for violin, saxophone, and percussion based on the folk traditions of the Alpstein region of Switzerland. Three pieces here are entitled "Zäuerli" -- named after the sad majestic "natur yodel" tradition of the Outer Rhoden region. These are sweeping and majestic with high harmonic bowstrokes. This recording features the saxophone work of Jan Garbarek and the percussion of Pierre Favre. Both add an incredible warmth to the recording on the pieces they are featured on, most notably "Alpsegen" with its soaring sax lines and manic percussion. Also notable is "Chlauseschuppel," featuring the sounds of cowbells specific to that region. Informative booklet included." [ AllMusic ]
Testeaza in showroom Cotroceni
1981
Pat Metheny - chitara electrica si acustica
Lyle Mays - claviaturi, Synclavier
Steve Rodby - bas
Nana Vasconcelos - percutie, berimbau, voce
Dan Gottlieb - tobe
AllMusic : "If 1980's As Falls Wichita, So Falls Wichita Falls was defined by Pat Metheny's charisma, its less accessible but certainly rewarding successor, Offramp, finds him leaning more toward the abstract. But as cerebral as Metheny gets on such atmospheric pieces as "Are You Going with Me?" and "Au Lait," his playing remains decidedly lyrical and melodic. Clearly influenced by Jim Hall, the thoughtful Metheny makes excellent use of space, choosing his notes wisely and reminding listeners that, while he has heavy-duty chops, he's not one to beat everybody over the head with them. Even when he picks up the tempo for the difficult and angular title song, he shuns empty musical acrobatics.
1977
Keith Jarrett - pian, saxofon, percutie
Dewey Redman - saxofon tenor, percutie
Charlie Haden - contrabas
Paul Motian - tobe, percutie
The Survivors’ Suite, recorded in 1976, is the crowning achievement of Keith Jarrett’s “American Quartet” with Dewey Redman, Charlie Haden and Paul Motian, and one of the all-time enduring masterpieces in the ECM catalogue. Melody Maker: “The Survivors’ Suite is a brilliantly organized and full-blooded work which provides the perfect setting for all four talents.
Initially published in January 1977, vinyl is reissued in April 2017 as audiophile pressing taken from the original analog tapes.
2014
Jakob Bro - chitara
Thomas Morgan - contrabas
Jon Christensen - tobe
Gefion is Danish guitarist Jakob Bro’s first ECM album as leader, following recordings for the label as sideman with Paul Motian and Tomasz Stanko.
1975
Keith Jarrett, Jan Garbarek, Charlie Haden, Stuttgart Radio Symphony Orchestra ( dirijor Mladen Gutesha )
AllMusic: "With saxophonist Jan Garbarek and bassist Charlie Haden along for the ride, Keith Jarrett indulges in three slow, rambling, meditative, vaguely neo-classical concertos for piano and string orchestra.
While a few of Jarrett's and Garbarek's passages here and there have a syncopated jazz feeling, this is mostly contemporary classical music, perhaps even somewhat ahead of its time (it might fit in with the neo-Romantic and minimalist camps today). However, although this music can be attractive in small doses, the lack of tempo or texture contrasts over long stretches of time -- particularly the nearly 28-minute "Mirrors" -- can be annoying if you're not in the right blissful mood. Mladen Gutesha and the Stuttgart Radio Symphony Orchestra perform the string parts with what can only be described as commendable patience. "
1981
Ralph Towner - chitara clasica, double-six
John Abercrombie - chitara acustica, , electrica, mandolina electrica
John Abercrombie is unique among guitarists in that whenever he becomes enraptured his sound becomes neither louder nor more pronounced but becomes somehow mysterious, liberated. Ralph Towner, on the other hand, revels in the crackling ruptures that so characterize his playing. Yet these roles seem reversed in this follow-up to the duo’s Sargasso Sea. A far more fragile carnation than its predecessor, it seems to forego the usual bag of tricks in favor of something more, as the album’s title would imply, reflective. This is especially apparent in the three improvisations with which the set list is dotted, and nowhere more so than in “Late Night Passenger,” where Abercrombie’s laddered filaments provide stunning berth for the other’s muted, jangling starlight. [ ecmreviews ]
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