Daca ai ajuns aici, inseamna ca facem partea din aceeasi gasca a nostalgicilor ce asculta muzica de pe vinil. Poti alege viitorul tau disc preferat fie din categoria de aici de pe site, sau poti alege sa vizitezi "Raftul virtual de viniluri", unde ai posibilitatea sa lasi intuitia sa aleaga pentru tine.
Even for ECM, this is an album of radical gentleness. Oded Tzur is a New York-based, Israel-born tenor saxophonist making his debut on the label. He’s studied with bansuri master Hariprasad Chaurasia and perhaps raga concepts influenced the music here. Tzur is quite an original player/composer, with few obvious influences in the jazz canon. […] Hershkovits and Tzur are clearly simpatico and the pianist is out front on the disc as much as the saxophonist. Klampanis and American drummer Johnathan Blake are charged with listening carefully, lest the spell be broken. It never is.
Jim Motavalli, New York City Jazz Record
1988
Markus Stockhausen - trompeta, corn, sintetizator
Gary Peacock - contrabas
Fabrizio Ottaviucci - pian
Zoro Babel - tobe
Cunoscut pentru albumele cu Aparis, Markus este fiul compozitorului contemporan cu acelasi nume ( Karlheinz ). Spre deosebire de tatal sau, Markus face o muzica meditativa, introspectiva , dar muzicala, melodioasa, fara nici o legatura cu muzica concreta, doar utilizarea mijloacelor electronice de expresie pe langa instrumentele normale.
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.
Orchestra Jazz Siciliana
Gary Valente - trombon
Steve Swallow - bas
Carla Bley - aranjamente
"Carla Bley's sometimes comical, always compelling compositions provide the material for this respectful repertory album from The Orchestra Jazz Sicilina. The roster features mainly European musicians, and the album emphasizes band interaction and ensemble execution rather than solo skills and individual voices." [ AllMusic ]
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.
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.
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 ]
2019
Larry Grenadier - contrabas
Larry Grenadier’s The Gleaners is a profound and highly creative album, harvesting influences from many sources, its title inspired by Agnès Varda’s film The Gleaners and I. In between his own pieces here, including a dedication to early hero Oscar Pettiford, Grenadier explores compositions by George Gershwin, John Coltrane, Paul Motian, Rebecca Martin and Wolfgang Muthspiel.
Pentru prima data pe vinil !
Jan Garbarek - saxofoane
Kim Kashkashian - viola
Manu Katche - tobe
Following a six-year break from recording, with only a guest appearance on bassist Miroslav Vitous' Universal Syncopations ('03) and a :Rarum compilation ('02), Norwegian saxophonist Jan Garbarek returns with his first album of new material since Rites ('98). In Praise of Dreams continues along the path established by such recordings as Legend of the Seven Dreams , I Took Up The Runes , and Visible World. But while Garbarek demonstrates the same penchant for deceptively simple pieces with almost anthem-like themes, his collaboration with violist Kim Kashkashian and drummer Manu Katche results in something richer, something deeper than what has come before. [ AllAboutJazz ]
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 ]
1990 - Interpreti: Christy Doran, Fredy Studer, Bobby Burri, Olivier Magnenat
1985
Shankar - vioara, voce , sintetizatoare, drum machine
Caroline - voce, sintetizatoare, tambura
Steve Vai - chitara electrica
Gilbert Kaufman - sintetizator
Percy Jones - bas electric
ecmreviews: "When I first slid this CD into my computer, the Gracenote Media Database upped my anticipation by filling in its genre as “Traditional.” Which is exactly what this album is not. But if you’re looking for a quirky lollipop that has baffled ECM and Shankar enthusiasts for decades, by all means lick away. With endearing vocals by Caroline, not to mention the collaborative edge of having guitar legend Steve Vai and bassist Percy Jones (of Brand X fame) in the same studio, one can only imagine the possibilities of throwing Shankar’s astounding virtuosity into such a milieu.
2019
Dominic Miller - chitara
Santiago Arias - bandoneon
Mike Lindup - pian
Nicolas Fiszman - contrabas
Manu Katche - tobe
With Absinthe, his second release for ECM, guitarist Dominic Miller has created an album colored by a distinct atmosphere. “The first thing that came to me before I wrote any tunes was the title,” he says. “Living in the South of France, I am fascinated by Impressionism. Sharp light and witchy mistrals, combined with strong alcohol and intense hangovers must have driven some of these artists toward insanity. Skies that are green, faces blue, perspective distorted.” While Miller’s ECM debut, Silent Light, emphasized intimacy in solo and duo settings, Absinthe finds the guitarist fronting a quintet that brings his ever-lyrical compositions to textured life.
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