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Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
1980
Pat Metheny - chitara acustica si electrica
Charlie Haden - contrabas
Jack DeJohnette - tobe
Dewey Redman - saxofon tenor
Michael Brecker - saxofon tenor
AllMusicGuide : "Pat Metheny's credibility with the jazz community went way up with the release of this package, a superb two-CD collaboration with a quartet of outstanding jazz musicians that dared to be uncompromising at a time when most artists would have merely continued pursuing their electric commercial successes. [...]
The two original LPs were organized so that the more distinctive Metheny fusions were on sides one and four and the overt jazz tracks occupied sides two and three."
2016
Tord Gustavsen - pian, electronice, sintetizator de bas
Simin Tander - voce
Jarle Vespestad - tobe
This is essentially a vocal record that contains more singing than any previous Gustavsen release and it also introduces an element of electronica to what has previously been an exclusively acoustic music.
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.
1975 - Keith Jarrett - pian
Recorded in 1975 at the Koln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid -- and a few of the more sophisticated ones in high school -- owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that's another story.
A fascinating solo album from the Swiss pianist, composer and conceptualist best known as leader of the bands Ronin and Mobile, Entendre offers deeper insight into Nik Bärtch’s musical thinking. As the album title implies Entendre is about hearing as a creative process, referencing the patient unfolding of Bärtch’s modular polymetric pieces, with alertness to the dynamics of touch, finding freedom in aesthetic restriction, serving the flow of each piece’s development while also taking the music to new places. Recorded at Auditorio Stelio Molo RSI, Lugano, in September 2020, and produced by Manfred Eicher.
2016
Wolfgang Muthspiel - chitara
Ambrose Akinmusire - trompeta
Brad Mehldau - pian
Larry Grenadier - contrabas
Brian Blade - tobe
AllAboutJazz :
"Austrian guitarist Wolfgang Muthspiel made a big splash early in his career, playing with vibraphonist Gary Burton and recording for PolyGram Records (including 1990's The Promise, produced by Burton). Since founding his own label Material Records in 2000 he has had a somewhat lower profile, although in addition to a number of his projects the label released From A Dream (2009), the stunning debut of the cooperative trio MGT (with fellow guitarists Slava Grigoryan and Ralph Towner). Muthspiel made his ECM debut with that trio on 2013's Travel Guide, followed by his leader debut in 2014 with the trio album Driftwood (with bassist Larry Grenadier and drummer Brian Blade).
‘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 ]
The first-time teaming of Poland’s dynamic Marcin Wasilewski Trio and big-toned US tenorist Joe Lovano brings forth special music of concentrated, deep feeling, in which lyricism and strength seem ideally balanced. The alliance plays four new tunes by Marcin and one by Joe, as well as Carla Bley’s classic “Vashkar” (in two variations), plus collective improvisations with strong input from all four players
2007
Keith Jarrett - pian
Charlie Haden - contrabas
All of which made Jasmine (ECM, 2010) a release worth celebrating. Recorded at Jarrett's home (in his Cavelight Studio), it was an intimate conversation between two old friends—Jarrett and Haden—who'd not recorded together in over three decades, and who were brought together when the pianist participated in Reto Cardiff's film about the bassist, Rambling Boy (2009).
Some things are never lost, and if Jasmine proved anything, it's that the chemistry shared by Jarrett and Haden may have been on hiatus for 30 years, but was no less potent, no less profound, when they found themselves recording a series of standards at Jarrett's home with no rehearsals barring a few quick run-throughs of the changes. The collaboration must have been a fruitful one, because Last Dance comes from those same sessions, another full 76 minutes of music comprised, once again, of songs culled from jazz standards and the Great American Songbook. [ AllAboutJazz (John Kelman) ]
2018
Marcin Wasilewski - pian
Slawomir Kurkiewicz - contrabas
Michal Miskiewicz - tobe
For years, fans of Poland's Marcin Wasilewski Trio have been asking for a live album. The group made this one "by accident", unaware that their August 2016 performance at Jazz Middelheim in Antwerp had been recorded by the festival.
The trio is certainly in energetic, extroverted mode, fanning the flames of their 'Spark of Life' repertoire and drawing on the deep understanding Marcin Wasilewski, Slawomir Kurkiewicz and Michal Miskiewicz have established in the course of a quarter century of shared musical endeavour. As Jazz Journal has noted, "Wasilewski's music celebrates a vast dynamic range, from the most deftly struck pianistic delicacies to gloriously intense emotional exuberance, the chords pounded with unrestrained joy, yet always within a marvellously melodic concept."
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.
1986
Keith Jarrett - pian
Gary Peacock - bas
Jack DeJohnette - tobe
AllMusic: "Once Keith Jarrett gets into a concept, he likes to keep those tapes rolling. This two-disc live outpouring from a Standards Trio gig at Munich's Philharmonic Hall was the biggest offering from this group up to that time (it wouldn't hold that distinction for long) -- and once again, Jarrett treats his brace of pop and jazz standards with unpredictable, often eloquently melodic and structural originality.
To cite a pair of highlights: "Autumn Leaves" always seems to bring out an endless flow of invention from Jarrett, and "The Song Is You" gets off to a rollicking start and maintains a nearly relentless energy level for 17 minutes, closing with a Spanish vamp. Again, the rapport with his onetime jazz-rock associate, drummer Jack DeJohnette, and bassist Gary Peacock is total; DeJohnette's mastery of shifting cymbal patterns while maintaining the pulse acts on the trio like a loose tether made of carbon steel. There is a considerable amount of Jarrett vocalizing, though; sometimes he sounds like a tortured animal. "
2016
Avishai Cohen - trompeta
Yonathan Avishai - pian
Bill McHenry - saxofon tenor
Eric Revis - contrabas
Nasheet Waits - tobe
“Cohen is a multicultural jazz musician, among whose ancestors is Miles Davis. Like Davis, he can make the trumpet a vehicle for uttering the most poignant human cries.”
– Jazz Times
2014
Vijay Iyer - pian
Stephan Crump - contrabas
Marcus Gilmore - tobe
"Though Break Stuff is Vijay Iyer's third appearance on ECM in less than year, it is the debut offering from the longstanding trio on the label. The pianist and composer has been working with bassist Stephen Crump and drummer Marcus Gilmore for more than a decade. They've issued two previous recordings together. Iyer usually works conceptually, and Break Stuff is no exception. In the press release he states that "a break in music is still music: a span of time in which to act. [ AllMusic ]
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.
2017
He uses ‘Gnosis’ to refer to ancient collective knowledge, and this music is about the intersection of cultures—contemporary improvisational language and Cuban sources, especially the sacred Abakuá percussion ensemble. There are over a dozen instrumentalists and vocalists employed, but they are mostly broken up into various small ensembles: the concert premiere was billed as ‘futuristic Afro-Cuban chamber music.’ […] Sections with the full ensemble (often with Allison Loggins-Hull's flute in the lead) such as ‘Tierra’ and ‘Visiones Sonoras’ alternate with more vocal selections, another feature for Morgan's bass with percussion (‘Nuná’), and solo piano. In fact Virelles closes out the set on piano with two unaccompanied tracks (‘De Cuando Era Chiquita’ and ‘De Coral’). Yet the entire program maintains a consistent tone, simultaneously ancient and contemporary: a ritual for the modern world.
Mark Sullivan, All About Jazz
In this vivid and exciting project, the Santiago-raised and New York-based pianist-composer David Virelles looks towards one melting pot from the vantage point of another. A far-reaching work with deep cultural roots, Gnosis speaks of transculturation and traditions, and of the complex tapestry of Cuba’s music – the sacred, the secular, and the ritualistic – but the work’s shapes and forms could only have been created by a gifted contemporary player thoroughly versed in the art of the improvisers. Strings, woodwinds and percussion all have their roles to play in Gnosis, viewed by Virelles as “several families functioning within one unit: this dynamic symbolizes multicultural interaction.” Virelles’ responsive piano and the vocals and percussion of Román Díaz, a profound figure in the transmission of Afro-Cuban musical history, are at the centre of the action. Gnosis was recorded at New York’s Avatar Studios in May 2016 and produced by Manfred Eicher.
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