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ECM 50TH ANNIVERSARY

ERÄ ECM CD-LEVYJÄ 12,95 € / KPL

Selailu 48 tuotteet
Image Life in Leipzig
"Both musicians are powerful melodists and natural storytellers, a duality that is both enduring and timeless, and is at the heart of these absorbing performances."
(Jazzwise)

A live recording from the Leipzig Opera House is the debut documentation of the duo of Ketil Bjørnstad and Terje Rypdal (active already since 1999). Material revisits pieces from Bjørnstad's "Water Stories" and "The Sea" and from Rypdal's "If Mountains Could Sing" and "Skywards", and adds a Grieg theme and new material. Cranked-amp electric guitar and acoustic piano is a rare, possibly unique, duo combination, but as Ketil notes in his tour diary liner notes, "I am not always the softest pianist, and especially not when I am working with Terje."

Ketil Bjørnstad, piano
Terje Rypdal, guitar

Recorded live October 2005







12,95 € (19,95 €)
Image Trios
Carla Bley, Andy Sheppard and Steve Swallow revisit classic Bley compositions in an exceptional album recorded in Lugano last year by Manfred Eicher. Included here are spirited new versions of "Utviklingssang" and "Vashkar", and the suites "Les Trois Lagons", "Wildlife" and "The Girl Who Cried Champagne". Carla's robust tunes are vividly conveyed, all members solo compellingly, and the trio has never sounded better.
Trios is one of the outstanding jazz albums of the season and marks the first time that a new Carla Bley album has appeared on ECM itself (rather than the ECM-distributed WATT label, which has been her primary platform for 40 years).


12,95 € (19,95 €)
Image Pas du chat noir, Le
"A record of astonishing harmonic richness, Le pas du chat noir attests to Brahem's unexpected devotion to the piano as a compositional tool and forces some retrospective recognition of how classically pianistic a lot of his music has been down the years. The oud here takes its place in a rich and constantly shifting context, with the two keyed instruments creating contrasting textures and environments for Brahem's gorgeous melody lines. ... This is a consistently rewarding and very surprising record. Ask me a year from now and I'll be finding new things in it."
(Jazzreview)

"The album is at once an extension and an audacious departure from the tradition of the oud. Despite his formidable knowledge of the maqarnat, an ornate system of modes that anchors Arabic music, he seldom bases his improvisations directly on the maqams. His phrasing is pure and uncluttered, expressing itself through silence nearly as often as sound. ...Composed of elegantly flowing lines and somber, breathlike silences, the music shimmers with the overtones of the piano. ... Mr. Brahem bases several of the tunes on spare, broken chords, repeated in the childlike manner of Satie. Simple though they are, however, they contain beguiling Arabesques. The three musicians rarely appear at once, performing as a trio on only seven of the album's 12 tracks. For the most part, you hear duets - piano and oud, oud and accordion, accordion and oud. The musicians often double each other's lines, but seldom in unison, which enhances the music's intimacy while producing a floating, echo effect.If every band projects "an image of coummunity," as the critic Greil Marcus once suggested, then Mr. Brahem's trio - part takht, part jazz trio, part chamber ensemble - evokes a kind of 21st century Andalusia, in which European and Arab sensibilities have merged so profoundly that the borders between them have dissolved. The image may be utopian, but its beauty is undeniable."
(The New York Times)

Anouar Brahem, oud
François Couturier, piano
Jean Louis Matinier, accordion

Recorded July 2001


12,95 € (19,95 €)
Image Blue Maqams
Released on the occasion of Anouar Brahem’s 60th birthday, "Blue Maqams" offers many reasons to celebrate. Recorded in New York’s Avatar Studios in May 2017 and produced by Manfred Eicher, it brings the Tunisian oud master together with three brilliant improvisers: the “Maqams” of the title refers to the Arabic modal music system, rendered kind of blue by the jazz players. For Anouar Brahem and Dave Holland the album marks a reunion: they first collaborated 20 years ago on the very widely-acclaimed "Thimar" album. Brahem meets Jack DeJohnette for the first time here, but Holland and DeJohnette have been frequent musical partners over the last half-century beginning with ground-breaking work with Miles Davis – their collaborations are legendary. British pianist Django Bates also rises superbly to the challenge of Brahem’s compositions. And Anouar in turn is inspired to some of his most outgoing playing. "Blue Maqams" is a highlight of ECM’s autumn season. Live appearances by the quartet will follow in 2018.

12,95 € (19,95 €)
Image STREAMS
On his second leader album for ECM – following on from the prizewinning Gefion - Danish guitarist Jakob Bro continues to refine his trio project, with its emphases on melody, sound, space, layered textures and interaction. The rapport between Bro and bassist Thomas Morgan (Bro calls him “my musical soul mate”) has become something extraordinary, as guitarist and bassist develop improvisational ideas in the moment. There’s an historical aptness, too, in the choice of Joey Baron as the band’s new drummer, for Bro first encountered Morgan when the bassist was playing in Baron’s band a decade ago.

“I’ve always seen music as a whole,” says Jakob Bro, “not as an outlet for me to display guitaristic things. It’s important for me that everybody in the group has an equal responsibility in the making of the music. We’ve played a lot now, and the pieces keep changing. I enjoy setting up moods and textures for us to work on, and to explore together, but I don’t insist on any specific directions. I have no fixed expectations of where the trio music should go, and I want Joey and Thomas to trust their ears and pursue the directions it seems to be suggesting. For me this is the most exciting aspect of the project. I love playing with this band, because new things are happening in the music all the time. The music wants to go in its own direction. It’s our job to follow it. In a way, that’s what the album title, Streams, is indicating.”


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Image Cross My Palm With Silver
A year after his impressionistic, critically-lauded ECM debut “Into The Silence”, trumpeter Avishai Cohen’s “Cross My Palm With Silver” introduces a programme of new pieces which put the focus on the ensemble, on teamwork, with a quartet of the highest calibre. The adroit, almost telepathic interplay among the musicians allows Avishai Cohen to soar, making it clear why he is one of the most talked-about jazz musicians on the contemporary scene. “All of these people together are my dream team”, says the charismatic trumpeter of fellow players Yonathan Avishai, Barak Mori and Nasheet Waits, who share his sense for daring improvisation and his feeling for structure. “I feel we’re in a perfect place with the balance. It’s open and there’s so much room for the improvisation to take the music any place we can. At the same time the composition is very specific and the vibe is very direct and thought about.” As with “Into The Silence”, “Cross My Palm With Silver” was produced by Manfred Eicher at Studios La Buissonne in the south of France. It is issued on the eve of a major European tour, with concerts in France, Italy, Spain, Luxembourg, United Kingdom, Switzerland, Germany and the Netherlands.

12,95 € (19,95 €)
Image Return To Forever
Chick Corea, electric piano
Joe Farrell, flutes, soprano saxophone
Flora Purim, vocal, percussion
Stan Clarke, basses
Airto Moreira, drums, percussion

Recorded February 1972


12,95 € (19,95 €)
Image Made in Chicago
Henry Threadgill: alto saxophone, bass flute
Roscoe Mitchell: alto, soprano and sopranino saxophones, bass recorder, baroque flute
Muhal Richard Abrams: piano
Larry Gray: double bass, cello
Jack DeJohnette: drums


With Made In Chicago, an exhilarating live album, Jack DeJohnette celebrates a reunion with old friends. In 1962, DeJohnette, Roscoe Mitchell and Henry Threadgill were all classmates at Wilson Junior College on Chicago's Southside, pooling energies and enthusiasms in jam sessions. Shortly thereafter Jack joined Muhal Richard Abrams' Experimental Band, and Roscoe and Henry soon followed him. When Abrams cofounded the Association for the Advancement of Creative Musicians in 1965, DeJohnette, Mitchell and Threadgill were all deeply involved, presenting concerts and contributing to each other's work under the AACM umbrella. Jack brought them together again for a very special concert at Chicago's Millennium Park in August 2013, completing the group with the addition of bassist/cellist Larry Gray. The concert recording - featuring compositions by Roscoe, Henry, Muhal and Jack, plus group improvising - was mixed by Manfred Eicher and Jack DeJohnette at New York's Avatar Studio. Made In Chicago is issued as the AACM begins its 50th anniversary year.


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Image Skala
Mathias Eick: trumpet, vibraphone, electric guitar, double-bass; Tore Brunborg: tenor saxophone; Andreas Ulvo: piano; Morten Qvenild: keyboards; Audun Erlien: electric bass; Torstein Lofthus: drums; Gard Nilssen: drums; Sidsel Walstad: harp

Link to e-card

Norwegian trumpeter Mathias Eick's new album extends the concept and the panoramic sweep of his ECM debut "The Door" (recorded 2007). "It's wider and bigger in all directions," Eick says. "Skala" calls upon the services of more musicians - including, at times, two drummers - and there is more detail in the arrangements. What hasn't changed is the emphasis on the lyrical soloist at the centre of the production. Eick's elegant trumpet now has a larger space in which to sing.

"Skala" was crafted, Eick explains, like a pop production. Where most ECM discs are famously completed in three or four days, this project began with five weeks in Oslo's Cabin Recorders Studio. At the outset, Mathias was mostly alone, sketching demos on a variety of instruments, then inviting players in as needed. The project moved on to Bugge Wesseltoft's studio, vibraphone was added at Pooka Studio, and the album was completed at Rainbow Studio where it was mixed by Mathias, co-producer Manfred Eicher and engineer Jan Erik Kongshaug.

"Skala" pools new and older compositions, all written by Mathias, and inspired, he says, by music from classical to pop. The title tune is one that the trumpeter says has been following him "for many years", its network of inspirations including Sting's 1993 song "Shape of My Heart". It is one of two pieces on the disc to incorporate the expressive saxophone of Tore Brunborg.


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Image Small Town
“Small Town” presents guitarist Bill Frisell and bassist Thomas Morgan in a program of duets, the poetic chemistry of their playing captured live at New York’s hallowed Village Vanguard. Frisell made his debut as a leader for ECM in 1983 with the similarly intimate “In Line”. The guitarist’s rich history with the label also includes multiple recordings by his iconic cooperative trio with Paul Motian and Joe Lovano, culminating in “Time and Time Again” in 2007. “Small Town” begins with a tribute to Motian in the form of a searching, 11-minute interpretation of the late drummer’s composition “It Should’ve Happened a Long Time Ago,” the duo’s counterpoint yielding a hushed power. Morgan has appeared on several ECM albums of late, as bassist of choice for Tomasz Stanko, Jakob Bro, David Virelles, Giovanni Guidi and Masabumi Kikuchi. “Small Town” sees Frisell and Morgan pay homage to jazz elder Lee Konitz with his “Subconscious Lee,” and there are several country/blues-accented Frisell originals, including the hauntingly melodic title track. The duo caps the set with an inimitable treatment of John Barry’s famous James Bond theme “Goldfinger.”

12,95 € (19,95 €)
Image In Praise of Dreams
Grammy Nomination 2005
Songlines, Top of the world
Stereoplay, CD des Monats
Audio, Jazz-CD des Monats
Consigliato da Musica Jazz


"From the very first track ... the saxophonist serves notice that this is going to be a very different album to anything he has done before. The haunting electronically generated sounds seem to hang in the air like an early morning mist and are penetrated, like the early morning sun, by the sharp, almost crystalline definition of Garbarek's saxophone, and, on subsequent tracks by Kashkashian on viola. The multiplicities of meaning conjured between them on pieces like "Knot in Time And place" or "Scene from Afar" take this album to a place where no Garbarek album has gone before. ... A major statement, possibly among his finest, by a major artist."
(Jazzwise)

"In Praise of Dreams" - Jan Garbarek's first new album in six years - features two musicians with whom the great Norwegian saxophonist shares some history - American-Armenian violist Kim Kashkashian and African-French drummer Manu Katché. Garbarek, Kashkashian and Katché span a lot of idioms between them, but the music sings with a focussed sense of purpose, in the context that Jan has shaped for it. If dreams are movies for the mind, the album is aptly titled - its atmospheres are evocative and decidedly 'filmic'.

Jan Garbarek, tenor saxophone, soprano saxophone, synthesizers, samplers, percussion
Kim Kashkashian, viola
Manu Katché, drums

Recorded March and June 2003



12,95 € (19,95 €)
Image Officium Novum
Saksofonisti Jan Garbarekin ja The Hilliard Ensemblen kolmas albumi! Officium Novum -levyllä itä kohtaa lännen. Musiikkina mm. armenialaista perinnemusiikkia, Garbarekin omia sävellyksiä sekä Arvo Pärtiä. Garbarek on urallaan soittanut niin klassista, jazzia kuin maailmanmusiikkia.

Jan Garbarek, tenor and soprano saxophones

The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor;
Steven Harrold, tenor
Gordon Jones, baritone

The inspired bringing together of Jan Garbarek and the Hilliard Ensemble has resulted in consistently inventive music making since 1993. It was the groundbreaking "Officium" album, with Garbarek's saxophone as a free-ranging 'fifth voice' with the Ensemble, which gave the first indications of the musical scope and emotional power of this combination. "Mnemosyne", 1998's double album, took the story further, expanding the repertoire beyond 'early music' to embrace works both ancient and modern.

Now, after another decade of shared experiences, comes a third album from Garbarek/Hilliard, recorded, like its distinguished predecessors, in the Austrian monastery of St Gerold, with Manfred Eicher producing. Aptly titled, there is continuity in the music of "Officium Novum" and also some new departures. In 'Occident/Orient' spirit the album looks eastward, with Armenia as its vantage point and with the compositions and adaptations of Komitas as a central focus. The Hilliards have studied Komitas's pieces, which draw upon both medieval sacred music and the bardic tradition of the Caucasus in the course of their visits to Armenia, and the modes of the music encourage some of Garbarek's most impassioned playing. Works from many sources are drawn together as the musicians embark on their travels through time and over many lands. "Officium Novum" journeys from Yerevan to Byzantium, to Russia, France and Spain and concludes with a musical setting of a Native American text: all voyages embraced by the album's dramaturgical flow, as the individual works are situated in a larger 'compositional' frame.

"Hays hark nviranats ukhti" and "Surb, surb" are part of the Divine Liturgy of the Holy Mass which Komitas Vardapet (1869-1935) arranged on different occasions and for different formations. The versions here derive from those made for male voices in Constantinople in 1914/1915. "Hays hark nviranats ukhti" is a hymn traditionally sung at the beginning of the mass while the priest spreads incense. "Surb, surb" (Holy, holy) corresponds to "Sanctus" in the Latin Mass.

"Ov zarmanali" is a hymn of the Baptism of Christ (Sunday after Epiphany), sung during the ceremony of blessing the water, and "Sirt im sasani" a hymn of "Votnlva" (the bathing-of-the-feet ceremony celebrated on Maundy Thursday).These Komitas pieces are from the period 1910 to 1915, but their roots reach back to antiquity. Ethnomusicologist as well as forward-looking composer-philosopher, Komitas not only showed how Armenian sacred music had developed from folk music, but used folk styles expressively, to make new art music for his era.

12,95 € (19,95 €)
Image Madar
Jan Garbarek, tenor and soprano saxophones
Anouar Brahem, oud
Ustad Shaukat Hussain, tabla

Recorded August 1992



12,95 € (19,95 €)
Image What Was Said
Tord Gustavsen: piano, electronics; Simin Tander: voice; Jarle Vespestad: drums



Tord Gustavsen's new trio project builds upon the subtle understanding of his long musical association with drummer Jarle Vespestad, introduces the entrancing German-Afghan vocalist Simin Tander, and, alongside new compositions and improvisations , explores the tradition of Norwegian church music in an untraditional manner. "Simin and I have been working with an Afghan poet," Gustavsen explains, "translating and shaping a selection of hymns that I grew up with in Norway into Pashto."





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Image In Montreal
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Image Köln Concert, The
Recorded January 1975


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Image The Melody At Night, With You
Tender is the night on what is, perhaps, Keith Jarrett's most intimate album. It is comprised of solo piano renderings of jazz ballads and folk songs, recorded at home and played with unmistakable affection. Jarrett dispenses with the jazz soloist's conventional emphasis on dexterity, the "clever" phrase, the virtuosic sleight-of-hand. Instead he strips these songs to their melodic essence and, gently, lays bare their emotional core.

Keith Jarrett, piano

Recorded 1998



12,95 € (19,95 €)
Image Hamburg 72 (Live Recording)
Keith Jarrett: piano, soprano saxophone, flute, percussion
Charlie Haden: double bass
Paul Motian: drums, percussion

The Keith Jarrett Trio, playing live at NDR Funkhaus, Hamburg in July 1972. The trio with Haden and Motian was Jarrett's first great band, his choice of players a masterstroke. Charlie and Paul hadn't worked together until Jarrett brought them into each other's orbit in 1966. With the bassist who had learned his craft in Ornette Coleman's band, and the drummer from Bill Evans's ground-breaking trio, Jarrett was able to explore the broadest scope of modern jazz, from poetic balladry to hard-swinging time-playing to ferocious and fiery free music. The improvisation heard in the Hamburg concert includes episodes with Keith on soprano sax and flute as well as piano, while Motian expands the role of percussion in the music, developing the supple, elastic, supremely unpredictable vocabulary that would subsequently become such a crucial part of both Jarrett's groups and Paul's own. The interaction between the three musicians is uncanny throughout, reaching a peak in an emotion-drenched performance of Charlie Haden's "Song for Che" (this is Jarrett's only recording of a piece that has become a new jazz classic). But from the first notes of "Rainbow", with its radiant piano, it is clear that something special is happening here.The German radio concert from which this album is drawn was part of a tour - the first European tour for this trio - organised by ECM. Manfred Eicher returned to the original analog sources, remixing the music recorded by NDR engineer Hans-Henirich Breitkreuz for this edition in Oslo in July 2014, together with Jan Erik Kongshaug. (As it happened, the work took place the day after Charlie Haden's death.)Haden's importance in this music can hardly be overstated. He is such a strong, centering presence. Jarrett plus Haden was always a special combination, of course, as recordings from Arbour Zena to Last Dance have eloquently shown, but for dynamic interplay between pianist and bassist the Hamburg recording is hard to beat. Charlie highly valued this musical association, and the way in which Jarrett would compose tunes for the strengths of the trio members: "I think some of the greatest music made in that time period came out of that group," Charlie told Ethan Iverson a few years ago. "Keith was always his own person, with original ideas as a leader. He wrote specifically for us. I loved it. He showed up at every rehearsal and sound-check with new music. It's amazing when you go over a new tune at a sound-check and can't wait to play it that night, since it already felt like 'you'."The Hamburg concert dates from the beginning of ECM's association with Keith Jarrett, whose solo album Facing You had been recorded the previous November and released just three months before this show.In the US, Keith Jarrett had begun to include saxophonist Dewey Redman in his group music and the trio was in the process of morphing into the group colloquially known as Jarrett's American Quartet. Several of the Jarrett tunes heard here, amongst them "Everything That Lives Laments" and "Piece for Ornette", would also find expression in the quartet repertoire. Much inspired quartet music was ahead, including the landmark albums The Survivors' Suite and Eyes of the Heart. But Hamburg '72 captures the core trio of Keith Jarrett, Charlie Haden and Paul Motian at the very apex of its creativity.The trio's earlier albums were Life Between The Exit Signs (recorded 1967), Somewhere Before (1968) and The Mourning of a Star (1971).


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Image Up and Coming
Guitarist John Abercrombie – who has recorded as a leader for ECM since 1974 – returns with a second album by his quartet featuring Marc Copland on piano, along with longtime rhythm partners Drew Gress and Joey Baron. Extolling “39 Steps”, the group’s 2013 album, the Financial Times said: “The emphasis is on subtle intrigue, flowing lyricism and the interplay between the leader’s warm, cleanly articulated guitar and Copland’s piano… with bassist Gress and drummer Baron equally supple and sinewy companions.” The same virtues of lyrical melody and harmonic/rhythmic subtlety are apparent with the new “Up and Coming”, though with even more emphasis on the enduring values of song. Abercrombie’s liquid phrasing and glowing tone – enabled by the thumb technique he has honed since eschewing a plectrum in recent years – animate his five originals and the pair by Copland, as well as a take on the Miles Davis classic “Nardis” done in the spirit of Bill Evans. “Up and Coming” has a twilight atmosphere, with melodic flow the guiding light.

12,95 € (19,95 €)
Image End Of A Summer, The
Julia Hülsmann, piano
Marc Muellbauer, double-bass
Heinrich Köbberling, drums

"Julia Hülsmann is a highly imaginative player possessing a rich harmonic language, 24-carat melodic sensibility and incredible rhythmic suppleness."
(Jazzwise)

"The End Of A Summer" is the ECM debut of the Julia Hülsmann Trio, its programme of songs without words guided by the playing, composing and aesthetic priorities of its leader. Hülsmann has said, "My music is all about melody", and everything in her work is informed by it, a rigorous sense of poetic compression uniting the writing and arrangements, the solos, the improvising, even the group interaction.

Sightings of German jazz groups are rare on ECM, from the outset an internationally-inclined German label. But the clearly delineated music of Julia Hülsmann's trio is channelling more than German jazz. Her musical sense of purpose was reinforced by studies in New York with Richie Beirach, Maria Schneider and Jane Ira Bloom. Jazz on ECM is amongst the influences the group members share, but individually they have been inspired by the most diverse musical experiences. Drummer Heinrich Köbberling, for instance, hears parallels between the 'minimalism' of house and techno music and the simple pleasure of a pulsing cymbal in a jazz ballad. Bassist Marc Muellbauer, who writes labyrinthine music for his group Kaleidoscope and once participated in workshops with Stockhausen and Kagel, recognizes that complexity can be a vantage point from which to view the value of simplicity. In the trio, he says, "the music is often between the notes."

Muellbauer has played with Hülsmann since 1996, when both were at Berlin's Hochschule der Kunste; Köbberling became the drummer five years later. Since then the trio has built a substantial German following "while hardly playing a trio gig". Instead the focus has been on projects with guest singers, and settings of poetry. A recording with verse of E.E. Cummings and the voice of Rebekka Bakken ("Scattering Poems", ACT 2003) won the German Jazz Award and sold prodigiously. It was followed by discs and/or concerts with singers Anna Lauvergnac, Roger Cicero and Daniel Mattar.

The lyrical spirit prevails on the present all-instrumental recording, whose impetus came from Manfred Eicher. The producer and the pianist first met at the Jazzahead Festival in Bremen in 2006, subsequently exchanging ideas that would lead to the recording of "The End of a Summer" in Oslo's Rainbow Studio in March 2008. (In the same month, the trio members contributed to a second ECM disc: "Fasil" with guitarist Marc Sinan, release of which is scheduled for 2009).

Material featured on "End Of A Summer" was composed over the last decade, the most recent piece being the title track, which was "written quickly, in a melancholy mood, with summer fast disappearing. It's about saying goodbye to a few things, with a tearful smile."

"Sepia" is a piece inspired by the chromaticism of Jobim's "Picture in Black And White." "'Sepia's' changed a great deal in performance. It started out as a slow bossa, but the recorded version is quite free."

"Gelb", by contrast was a commissioned work on a theme related to beat writer Ruth Weiss, "part of suite of colours. I wanted to write something simple that grooved." "Not The End Of The World" is from Hülsmann's New York years, a study on a descending scale. From the same period, "Senza" explores polyphonic and contrapuntal elements, as the theme returns each time with different accompaniment. Hülsmann credits former teacher Beirach with underlining the need to find and maintain an original voice in her writing. "He emphasized that I had to drill deep into my material and dig out what is authentic in it.".

Muellbauer and Köbberling also contribute material. Muellbauer's "Last One Out" was "originally conceived as a piece for saxophone trio, no harmonies intended. We've done it many different ways, including fast and open. Now we play it slow, and there's lots of chords but no harmony and the theme arrives only at the end."

Köbberling's "Konbawa" (Japanese for "good evening") was written in New York in 1999, and "Where In The World" also celebrates a New York experience: "I used to go every week to hear Kurt Rosenwinkel's group. They had a song in 3/4 which I really liked and I wanted to write something in that spirit. I tried but could not - and something totally different emerged." Hülsmann: "On this piece I play only the chords Heinrich wrote out. Very well-chosen, beautiful chords."

In this context, however, even pop singer Seal's "Kiss From A Rose" sounds like a piece that Hülsmann might have written. Her insistence on working with the substance of a melody and a staunch disinclination to over-embellish puts her in a jazz tradition that includes such stubborn spirits as Monk, Carla Bley and Ahmad Jamal. Of the Seal tune she says: "I heard it on the radio and liked it. The original arrangement is rather bombastic: we made it 'small' and more intimate but didn't change much - simply helped it to breathe better."

*
Julia Hülsmann was born in 1968 in Bonn, and began playing piano at the age of 11. She formed her first band at the age of 16. In 1991 she moved to Berlin, and played in the Bundesjugendjazzorchestra under the direction of Peter Herbolzheimer. She currently teaches in Berlin and Hannover and plays in projects with Marc Sinan, Celine Rudolph, and others, as well as her own groups.

Bassist Marc Muellbauer (born in London in 1968) also leads his own nine-piece band, Kaleidoscope. He has played contemporary classical music with the ensemble United Berlin, and Argentinean tango in the quintet Yira Yira, as well as jazz with diverse formations. Muellbauer teaches double-bass at the Hanns Eisler Academy in Berlin.

Drummer Heinrich Köbberling (born in Bad Arolsen/Hessen in 1967) has worked with Aki Takase, Ernie Watts and many others: he has played on around 50 jazz albums. A 1997 leader date, "Pisces" included Marc Johnson and Ben Monder as sidemen. Köbberling is also a member of the post-techno/house group 8doogymoto. He teaches drums at the FMB Conservatory in Leipzig.




12,95 € (19,95 €)
Image Neighbourhood
Jahrespreis der deutschen Schallplattenkritik
Preis der deutschen Schallplattenkritik, Bestenliste 4/2005
BBC Music Magazine, Jazz Choice
Jazz FM, Album of the month
Jazz Magazine, Disque d'émoi de l'année
Jazz Magazine, Disque d'émoi
Musica Jazz, Disco del mese


"Manu Katché, who leads this relaxed supersession featuring trumpeter Tomasz Stanko and saxophonist Jan Garbarek, is the kind of drummer who can't not groove. On Neighbourhood he adds propulsion to the kind of chamber jazz that too often floats in a musical soup of formless percussion. He makes a beautiful sound on his kit, too, and meshes nicely with pianist Marcin Wasilewski and double bassist Slawomir Kurkiewicz on the opening track. ... Neighbourhood is a thoughtful, feelgood jazz album that harks back to the traditions of modern jazz while remaining contemporary - thanks to Katché's inventive drumming."
(The Guardian)

Jan Garbarek, saxophones
Tomasz Stanko, trumpet
Marcin Wasilewski, piano
Slawomir Kurkiewicz, double-bass
Manu Katché, drums, percussion

Recorded March and November 2004



12,95 € (19,95 €)
Image Mostly Coltrane
HÖGSTA BETYG I SYDSVENSKAN

HÖGSTA BETYG I SKÅNSKA DAGBLADET

4 AV 5 MÖJLIGA I BETYG I UPSALA NYA TIDNING

4 AV 5 MÖJLIGA I BETYG I NORRKÖPINGS TIDNINGAR

"I starten av John Coltranes solokarriär spelade 21-årige Steve Kuhn med honom, innan den helt annorlunda pianisten McCoy Tyner snodde pallen. Och Kuhn (som gick vidare till Stan Getz band och i slutet av 60-talet blev Sverigebo och sambo med Monica Zetterlund) har skapat en stark Coltranehyllning, av mannens egna låtar och andra kompositioner som han satte sin stämpel på. I Steve Kuhns spel finns lyskraft och en klarhet i tanke, sound och tonval som fångar lyssnaren, inte minst i de två egna solospåren "Gratitude" och "Trance". Kuhn har balans och överblick i alla lägen. Joey Barons mångrytmiska, bubblande och uppfinningsrika trumspel bredvid David Fincks smarta, stabila kontrabas betyder också mycket för helheten. Men utan Joe Lovanos tenorsax skulle plattan ha blivit dramatiskt annorlunda. Lovano är Coltraneälskare sedan barnsben. Och även om han definitivt inte blev någon kopia, så bär han på denna balladtäta cd fram samma känslor och ton, samma förening av sårbarhet, kraft, ödmjukhet och storslagenhet. Startspåret "Welcome" är fantastiskt vackert och inte ensamt om det heller."
(Sydsvenskan)

"Förmodligen ler Train i sin himmel."
(Skånska Dagbladet)

"...en fullträff..."
(Upsala Nya Tidning)

"Steve Kuhn är en lyrisk musiker med broderande vackert spel."
(Ljusnan)

"Pianisten Steve Kuhn hade ett kort samarbete, tre månader, med John Coltranes kvartett vintern 1960 . Med var basisten Steve Davis och trumslagaren Pete La Roca. Till tillbakablicken på den store tenorgiganten har Kuhn med sig tenoristen Joe Lovano, basisten David Fink och trumslagaren Joey Baron vilka iklär sig roller som ger referenser till Tranes kvartett med McCoy Tyner och Elvin Jones. Det görs utan slavisk epigondyrkan med melodier som förknippas med Trane. Titlar som Welcome, Living Space, Cresent och Song Of Praise anger inriktningen. Mycket övertygande är Kuhn i Billy Eckstines I Want To Talk About You som görs utan Lovano. Här är det snubblande lätt att dra paralleller till Bill Evans - så bra är det. Men inte enbart där, The Night Has Thousand Eyes är också mästerlig. Kuhns With Gratitude, ett solonummer för Kuhn biter sig också fast. Lovano bidrar naturligtvis till gruppens status. Spröd och innerlig blir han i Central Park West. I den rörliga Configuration agerar musikerna mycket fritt där Baron är en pådrivare av stort mått. Dialogerna med Lovano för tankarna till Trane och Elvin Jones eruptiva utbrott. Atmosfären ändras radikalt i Jimmy´s Mood där tenorsaxofonen stärker temats sökande karaktär. I Spiritual använder Lovano en taragato, ett träblåsinstrument som påminner om en sopransaxofon. Instrumentet används speciellt i Ungern och Rumänien. Skivan avslutas med Trance där Kuhn ensam avrundar närmandet till Trane."
(DIG)

Joe Lovano, tenor saxophone and tarogato; Steve Kuhn, piano;
David Finck, double-bass; Joey Baron, drums.



12,95 € (19,95 €)
Image Voice In The Night
Charles Lloyd, tenor saxophone
John Abercrombie, guitar
Dave Holland, double-bass
Billy Higgins, drums

Charles Lloyd's sixth ECM album is both a departure and a homecoming for the Memphis-born and California-based tenorist, introducing new music and revisiting archive favourites (including the epic "Forest Flower"), and featuring an all-star line-up. With his "Scandinavian" band currently on hold,this is Lloyd's first all-American album in a long while - Dave Holland qualifies as an honorary American by now - with all the differences of cultural emphasis that this implies. ECM veteran John Abercrombie and legendary drummer Billy Higgins are in great form throughout as they lock in with Lloyd to tackle material ranging from Billy Strayhorn's "A Flower Is A Lovesome Thing" to the Elvis Costello/Burt Bacharach-penned "God Give Me Strength" or dig deep into the roots music of the "Island Blues Suite".






12,95 € (19,95 €)
Image Spark of Life
Marcin Wasilewski: piano
Slawomir Kurkiewicz: double bass
Michal Miskiewicz: drums
Joakim Milder: tenor saxophone

The fourth ECM album from the Marcin Wasilewski Trio adds a special guest, the lyrical Swedish saxophonist Joakim Milder, whom the Polish band came to know through live performances with Tomasz Stanko's Litania project. Amongst other affinities, the players share a love of Krzyzstof Komeda's themes, and "Sleep Safe and Warm" written for Polanski's Rosemary's Baby, makes a welcome reappearance here. Milder played the theme with Stanko on the Litania recording in 1997. Two years earlier the Wasilewski Trio (or the Simple Acoustic Trio, as they were then known) featured it on their very first album, Komeda. "Wasilewski is a sensitive, bittersweet romantic," opined UK website Marlbank recently, "in one sense a disciple of Bill Evans, but just as much a follower of Komeda, the great Polish film composer. And it's fitting that one of Komeda's most compelling melodies is included on the new album."On Spark Of Life, recorded in Lugano in March 2014, and produced by Manfred Eicher, the Wasilewski group balances original material - intensely melodic new tunes by Marcin (including variations of the beautiful title track), and one from Milder (the buoyant "Still") - with an eclectic range of covers. The players embrace Herbie Hancock's "Actual Proof" (an acoustic version of a tune very much associated with the sonorities of the Fender Rhodes), the Police's pop hit "Message In A Bottle" (here given a robust, Tyner-ish rhythmic emphasis), "Do rycerzy, do szlachty, do mieszczan" from Polish grunge-rock group Hey, and Slawomir Kurkiewicz's sensitive arrangement of a piece by contemporary classical composer Grazyna Bacewicz. Throughout, the Wasilewski Trio reinforces its status as one of the most resourceful groups around. This is the trio's second ECM appearance in a matter of months, following on from sterling work as Jacob Young's rhythm section on Forever Young.The rapport between band members Wasilewski, Kurkiewicz and Miskiewicz is the key to the group's singular longevity. Here are three musicians, all still in their thirties, with more than 20 years of shared playing experience. Marcin and Slawomir began playing jazz together as 15-year old students at the Koszalin High School of Music. Their first trio was formed the following year. In 1993 drummer Michal Miskiewicz, son of noted Polish alto sax player Henryk Miskiewicz, joined them, and the group's line-up has been stable ever since. As the Simple Acoustic Trio they won awards in their homeland and issued five albums on local labels. (Their early emphasis on Komeda awakened Tomasz Stanko's interest in the group, and through the 1990s they collaborated with the trumpeter on projects, beginning with theatre music; by the decade's end, they'd progressed to become his regular band. In 2001 their work together was documented, to public acclaim, on the Stanko Quartet album Soul of Things, recorded by ECM in 2001, followed by Suspended Night in 2003, and Lontano in 2005. The association continues today, albeit intermittently, with the former protégés now billed as Stanko's Old Quartet).Their first international release by Wasilewski/Kurkiewicz/Miskiewicz, entitled just "Trio" was recorded in 2004 and released the following year, immediately winning the Quarterly Prize of the German Record Critics. In the US, too, critics were taking notice. "Their years together have resulted in an ensemble with an utterly symbiotic creative flow," noted Don Heckman in the Los Angeles Times. Subsequent ECM recordings were January (recorded 2007) and Faithful (2010)."This trio is now one of the finest in jazz, its mutual ease and intuition something to marvel at," wrote Ray Comiskey in The Irish Times: "Musically and extra-musically it remains a co-operative; Wasilewski's a kind of aural painter who puts the colours on the group's canvases while the others shape and highlight them, in a kind of impressionism that allows the trio's fluid interaction free rein and permits the band to evoke, sustain and resolve a considerable mood spectrum."


12,95 € (19,95 €)
Image Elixir
LIRA / ÅRETS BÄSTA 2008 ENLIGT MAGNUS ERIKSSON

An album of solos and intimate duos with, as its starting point, the sound of Marilyn Mazur's percussion instruments, collected from all over the world - each of them allowed to "speak" with its own voice - either alone or in dialogue with Jan Garbarek's saxophones. The Danish percussionist spent 14 years on the road with the Jan Garbarek Group, appearing on albums including "I Took Up The Runes", "Twelve Moons", "Visible Worlds" and "Rites", but "Elixir" marks the first time that Mazur has established the parameters for their musical collaboration. In these improvisations she continually triggers new responses from Garbarek: yearning melodies, joyful dances, meditations.

Marilyn Mazur marimba, bowed vibraphone and waterphone, hang, bells, gongs, cymbals, magic drum, log drum, sheep bells, Indian cowbells, udu drum, various drums and metal-utensils

Jan Garbarek tenor and soprano saxophones, flute



12,95 € (19,95 €)
Image Offramp
Pat Metheny, guitar, guitar synthesizer
Lyle Mays, keyboards
Steve Rodby, basses
Nana Vasconcelos, percussion, berimbau, voice
Dan Gottlieb, drums

Recorded October 1981



12,95 € (19,95 €)
Image HOMMAGE à Eberhard Weber
Pat Metheny: guitar
Jan Garbarek: saxophones
Gary Burton: vibraphone
Scott Colley: double bass
Danny Gottlieb: drums
Paul McCandless: oboe and soprano saxophone
Eberhard Weber: (bass, from tapes)

The centerpiece of the album - and the title track here - is a specially commissioned work by Pat Metheny, with whom Weber had played and recorded back in the 1970s (on ECM albums including Pat's own Watercolors as well as Gary Burton's Ring and Passengers). Featuring the SWR Big Band conducted by Helge Sunde, Gary Burton, Scott Colley and Danny Gottlieb, this extended composition is built upon recordings of solo improvisations by Weber, subtly orchestrated by Metheny. Pat explains his methodology in his liner notes: "Since Eberhard's stroke in 2007, he has not been able to play. But I felt that his sonic identity was such a huge component in his work that I wanted to somehow acknowledge it in whatever form I could. It came to me that it would be interesting to take the idea of sampling one step further; to find video elements of Eberhard improvising and then reorganize, chop, mix and orchestrate elements of those performances together into a new composition with a large projection of the Eberhard moments that I chose filling a screen behind us as we performed. It seemed like a new way to compose for me that would almost take the form of visual sampling."


12,95 € (19,95 €)
Image Silent Light
12,95 € (19,95 €)
Image Khmer
Massive beats and throbbing grooves underpin the Norwegian trumpeter's fiery solos in a project that forms a bridge between ECM's improvised soundscapes and the brave new world of trip-hop, drum'n'bass, ambient/illbient, techno, industrial, electronica and samples. Nils Petter Molvær may be best known for his jazz work - with most of the leading Scandinavian players and with Elvin Jones, Gary Peacock, and George Russell - but he also has vast experience as a rock sessioneer. Khmer brings jazz's freedom and pop/rock's sound potential together.

Nils Petter Molvær, trumpet, electric guitar, bass guitar, percussion, samples
Eivind Aarset, electric guitar, effects, ambient treatments
Ulf W. Ø. Holand, samples
Morten Mølster, electric guitar
Roger Ludvigsen, acoustic guitar, percussion, dulcimer
Rune Arnesen, drums
Reidar Skår, samples, keyboards

Recorded 1996-1997


12,95 € (19,95 €)
Image Time and Time Again
BBC Music Choice
Jazzman, Choc du mois
Jazzmagazine, Disque d'émoi


"Veteran drummer Paul Motian, cross-genre guitar original Bill Frisell and Joe Lovano, the walking sax-history encyclopaedia, last collaborated on the 2004 album I Have the Room Above Her. ... This is right in the same pocket, with all the compositions being Motian's except for Monk's Light Blue, the standard This Nearly Was Mine, and Lovano's drifting Party Line. Motian's melodies often proceed in nudges and short-phrase calls and responses, Frisell's and then Lovano's tentative unfolding of This Nearly Was Mine makes you lean to catch the implications, and Monk's Light Blue lurches elegantly along on Lovano's quivering tenor tone and Motian's assymetrical, but irresistibly propulsive drumming."
(The Guardian)

"Anyone familiar with Motian's oeuvre, and with this wonderful trio in particular, will have an idea what to expect. There is a butterfly-like delicacy to these performances, a dream-like quality of things half-remembered. ... For my money, Frisell never sounds better than in this context and Motian seems to draw something special form Lovano. Here, the tenorist contributes a very Motianesque "Party Line" and he plays throughout with restraint and introspection. With shifting pulse and counter-melody and counterpoint aplenty, this is one of Motian's finest records."
(Jazzwise)

Paul Motian's trio with Bill Frisell and Joe Lovano received ecstatic reviews for "I Have The Room Above Her", Motian's ECM 'comeback' album of 2005, and the recording was a "critic's choice" all around the world. Appropriately so: the trio was formed at ECM, way back in 1984, and its sound concept is a most apt match for the label's production values. Luxuriating in the sensuality of sound while also keenly attuned to each other in the improvisations, Motian, Frisell, and Lovano play a gravity-defying, floating music that is at all moments free and intensely melodic. Album features original compositions by Motian, plus Thelonious Monk's "Light Blue" and Rodgers and Hammerstein's "This Nearly Was Mine".

Joe Lovano, tenor saxophone
Bill Frisell, guitar
Paul Motian, drums

Recorded May 2006



12,95 € (19,95 €)
Image Rising Grace
Wolfgang Muthspiel – whom The New Yorker has called “a shining light” among today’s jazz guitarists – made his ECM leader debut in 2014 with the trio disc “Driftwood”, featuring him alongside two longtime colleagues, bassist Larry Grenadier and drummer Brian Blade. For his follow-up – “Rising Grace” – the Austrian guitarist has convened a very special quintet, adding jazz luminary Brad Mehldau on piano and the outstanding young trumpeter Ambrose Akinmusire to the subtly virtuosic Grenadier/Blade rhythm section. Muthspiel moves between electric guitar and classically tinged acoustic six-string, his playing by turns grooving (“Boogaloo”) and enchanting (“Rising Grace”). The lyrical flights of Akinmusire’s trumpet and the probing improvisations of Mehldau run through Muthspiel’s rich set of compositions like golden threads, the tracks including a warm tribute to a late, great ECM artist, Kenny Wheeler (“Den Wheeler, Den Kenny”). Rising Grace also includes a deeply melodious piece that Mehldau composed especially for the album, “Wolfgang’s Waltz.”

12,95 € (19,95 €)
Image Holon
"Nik Bärtsch's Ronin, the quintet that just released its second album, Holon, would be playing math rock if its instruments were plugged in. They're not, so Mr. Bärtsch's compositions - layered patterns in odd meters, latticed with melodies that hint at Asia and Africa - come across as chamber jazz that looks toward the Minimalism of Steve Reich and the evolutionary structures of Weather Report. Mr. Bärtsch, a Swiss pianist, and his group seize their nuances at low volume in pristine textures. The pieces make room for improvisation, which takes place within the rigorous, non-stop slyly shifting patterns that make the music quietly riveting."
(New York Times)

The second ECM album by Swiss composer-pianist Nik Bärtsch and his band Ronin reaps the benefits of the two years of roadwork undertaken since the recording of "Stoa"
"We've simply played a lot more," Bärtsch emphasises: "The development of the band as an organism is a very important force for the music. It is through playing that the pieces I write grow and bloom." The distinguishing characteristics of the music are consistent: the modular constructions, the polymetric pulses, the complex interlocking patterns and repetitive motifs. Bärtsch speaks of the band's way of working as a "spiral continuum" rather than the newness-at-all-costs priorities of the Western avant-garde. Yet it is clear enough that a conceptual leap has been made in Ronin's music, for the band's sound is simultaneously looser and indissoluble, without any relinquishing of the grip upon the groove.

Nik Bärtsch, piano
Sha bass, clarinets, alto saxophon
Björn Meyer, bass
Kaspar Rast, drums
Andi Pupato, percussion

Recorded July 2007



12,95 € (19,95 €)
Image Now This
Marc Copland piano
Gary Peacock double bass
Joey Baron drums

In the realm of the piano trio the bar is set high, and creative bassist Gary Peacock has helped raise it in the groups of Paul Bley, Bill Evans, and Keith Jarrett, as well as his own bands. Now This is an album with the bassist's current trio. Powerful new versions of some Peacock classics are interspersed with recent compositions. Marc Copland and Joey Baron each contribute a tune apiece, and the group also tackles Scott La Faro's 'Gloria's Step'. In this band, roles are very evenly shared, and this is an optimum context in which to appreciate the melodic invention of Peacock's bass playing. Marc Copland always honours the needs of the compositions while bringing his harmonic imagination into play on the solo stretches, and Joey Baron supplies both drive and sensitive detail "stressing exuberance, propulsion, and colour in just the right measure" as the Ottawa Citizen noted in a review of the trio in concert. Now This, issued in time for Gary Peacock's 80th birthday on May 12th, sums up some of the qualities that have made the bassist an important figure in creative music. It is also Peacock's 40th appearance on ECM.




12,95 € (19,95 €)
Image Tati
Jazz Magazine, Disque d'émoi de l'année
Jazzman, Choc de l'année
Jazzman, Choc du mois
Classica-Répertoire, L'événement jazz du mois
Fono Forum, Empfehlung des Monats
Stereoplay, CD des Monats
Audio, CD des Monats
Consigliato da Musica Jazz


"Enrico Rava's exquisite trumpet tone in the service of a dozen ballads is a musical situation preordained to satisfy. With Italian kindred spirit Stefano Bollani on piano and peerless Paul Motian on drums, the results frequently transcend simple satisfaction. On Tati, the trio creates a sound of almost uniform breathtaking beauty with subtle sonic surprises sprinkled throughout. ... The material, featuring a half dozen Rava compositions and three classic Motian gems, is perfect for the trio's personalized approach. ... Motian, as always, is the essence of subtlety. He alternately allows the music space to breathe and also pushes it onward with his signature passive-aggressive approach. Pianist Bollani ... interpolates classical and pop expertise and experience into the proceedings, but it's his sense of restraint and his quick-witted responses to the creations of Rava and Motian that is most impressive. However, it's the engaging warmth and purity of Rava's tone that dominates the music. His burnished beauty makes the sound."
(Downbeat)

"Tati, in its inspiration and collective execution and continuity, is ... very possibly Enrico Rava's most indispensable recording. The mood is never broken, but evolves. After the Gershwin, everything is originals by members of the trio except a Puccini theme from Tosca, which seamlessly becomes one more fluid form in the spontaneous aesthetic. ... Rava's ... ideas are impossible to anticipate as they move in melodic tangents and intuitive flares of energy."
(Jazztimes)

Enrico Rava, trumpet
Stefano Bollani, piano
Paul Motian, drums

Recorded Novmber 2004



12,95 € (19,95 €)
Image Ojos Negros
The Absolute Sound's 2007 Golden Ear Music Awards
Vibrations, Le disque du mois


"If I were to tell you that four month into 2007, I already had a nomination fort he year's best-sounding record, you might think me daring. If I told you that it features bandoneon and cello, you'd probably think me barking mad. But there it is. ... What's astonishing about the music is the amount of tonal color the two instrumentalists coax out of not just their instruments, but their interplay. Melodic lines shift effortlessly from cello to bandoneon and back again. Both Saluzzi and Lechner are superb continuo players, keeping the performances moving forward without endlessly recapitulating the same passages."
(Stereophile)

"Before virtuoso Argentine musician-composer Astor Piazzolla came along in the mid-50's, the bandoneon (button squeezebox) was primarily known as a sailor's 'toy' accordion.
Twelve years after his death, there's but one cat with instrumental and compositional chops audaciously iconoclastic enough to walk in El Maestro's boots: Dino Saluzzi.
The album finds Saluzzi beautifully linking up with Lechner, cellist of the Rosamunde Quartet, to take tango to a dark noirish place that Piazzolla lovers dream of."
(Global Rhythm)

"The combination of bandoneon and cello sounds exquisite. The rasp of the former curls against the plangent cry of the cello like an old lover. Saluzzi and Lechner take that textural relationship to rapturous places, performing seven Saluzzi compositons and Vicente Greco's title work with passion and breathtaking drama."
(DownBeat)

"The duets between the Argentine bandoneon player and the German cellist are obsessed with romance and injected with filigree. The new Ojos Negros can be wickedly intricate, but the lithe nature of the musicians' interplay always makes it disarmingly natural."
(The Village)

The long-awaited album by the Argentinean bandoneon giant Saluzzi and German cellist Lechner, known both for her work with the Rosamunde Quartet and her explorations outside it. It was, for instance, Lechner's interest in Tango Nuevo that made the ongoing Saluzzi/Rosamunde "Kultrum" collaboration possible in the mid-90s; Anja and Dino have toured widely as a duo, too. Jazz Review editor Richard Cook described one of their concerts as being "as close to perfection as any music-making I can recently recall". Essentially chamber music with inspirational roots in Argentinean traditions "Ojos Negros" puts the emphasis on Saluzzi's finely-crafted compositions but also has a strong improvised component.

Dino Saluzzi, bandoneon
Anja Lechner, violoncello

Recorded April 2006


12,95 € (19,95 €)
Image Sources
Louis Sclavis, bass clarinet, clarinet
Benjamin Moussay, piano, Fender rhodes, keyboards
Gilles Coronado, electric guitar

Louis Sclavis's band of the season is the Atlas Trio, an ensemble with a global reach of reference. Chamber-improvisation, polyrhythmic grooves, minimalistic pulse patterns, enveloping ambience, rhapsodic piano and funky Fender Rhodes, distorted guitar, clarinet soliloquies, contrapuntal themes, free group playing, a bit of everything. An open-form aesthetic applies in multi-facetted music simultaneously exploratory and involving. Recorded in the South of France last September, the album - Louis's ninth for ECM - features a programme of new Sclavis compositions, and is issued in time for tour dates including a major showcase at the Europa Jazz Festival in Le Mans.


12,95 € (19,95 €)
Image Joy In Spite of Everything
Stefano Bollani Joy In Spite Of Everything Stefano Bollani: piano; Mark Turner: tenor saxophone; Bill Frisell: guitar;Jesper Bodilsen: double-bass; Morten Lund: drums ECM 2360 2014 Stefano Bollani is an artist of ebullient virtuosity, with uncommon sensitivity and range. The Italian pianist has proved to be at home on ECM improvising solo or leading a trio, as well as engaging in duos with Enrico Rava, Chick Corea and Brazilian bandolim player Hamilton de Holanda. With Joy In Spite Of Everything - an album of new compositions by the pianist for a trans-Atlantic quintet - Bollani has made his most beautifully textured and infectiously lyrical statement yet. He recorded these nine pieces at New York City's Avatar Studios with the Danish rhythm section heard on Stone In The Water - bassist Jesper Bodilsen and drummer Morten Lund - plus two prominent American players and ECM intimates: guitarist Bill Frisell and saxophonist Mark Turner. As its title reflects, Joy In Spite Of Everything brims with an indefatigable lightness of spirit despite the inevitable shadows of life.The New York Times reviewed a concert at Birdland by Bollani with Bodilsen and Lund just before they went into the studio with Frisell and Turner. Critic Ben Ratliff described Bollani's quicksilver musical personality in a way that resonates with Joy In Spite Of Everything, calling his music-making "intensely alive" and adding: "You don't have to watch him to know what kind of musician he is: puzzling, finessing, fast-thinking." Previous reviews have noted the semblance of Bollani's musical personality to the films of Fellini, with a mix of circus-like humor and bittersweet reflection. For his part, trumpeter Enrico Rava - father figure of Italian jazz and Bollani's mentor and frequent colleague - has summed up the younger artist as "a real poet of the piano."The Guardian has noted that "Bollani loves tunes that sound sung," and Joy In Spite Of Everything begins with a lilting, lyrical calypso for quintet, "Easy Healing," that's as contagious as anything he's written. The album's performance configurations range from quintet to quartet, trio and duo. Humor and melancholy are juxtaposed with two tracks for trio plus Turner: the faintly Monk-like "No Pope No Party" and the pensive ballad "Las Hortensias." Occasional North African accents jostle with the overriding Latinate lyricism of the trio track "Alobar e Kudra," while the album's centerpiece is the 12-minute-plus quintet track "Vale," which hovers like fog in the night.Bollani insists that he wrote "Teddy" - a duo feature for the pianist and Frisell - with Teddy Wilson in mind, even if the style of the track didn't end up sounding all that akin to the Swing-era keyboardist. "Ismene," for trio plus guitar, has a lovely melody tailor-made for Frisell's limpid way with a tune. "Tales From the Time Loop," an expansive piece for quintet, brims with vamping rhythmic tension, though Bollani's unspooling solos are a lyrical release. Yet Bollani's imaginative attributes are often apparent on Joy In Spite Of Everything not just in his solos but in the way he adds subtle color and commentary to the solo passages of other players.Bollani first got to know Bodilsen and Lund playing with Rava, going on to tour with them as a trio across Europe and in the U.S. He says about the rhythm section: "I like them both musically and personally. We are the same age. We listened to the same records; we grew up with the same kind of music, the same idea of music - very spontaneous, with a kind of empathetic, telepathic communication. Playing with them is special because we don't need to talk so much about the music we are playing."As for Frisell, a veteran of myriad ECM albums in a career of ever-widening horizons, Bollani says: "Bill is not a 'guitar player' for me - he is a complete musician. I'm in love with the way he is playing and performing music without thinking about boundaries, about genres. He is not playing jazz music - he is playing the music. That's what I like: this attempt to play different things each night, on each record. And, of course, I love his guitar sound."One of the most admired saxophonists of his generation, Mark Turner will soon debut as a leader on ECM with the quartet album Lathe Of Heaven, having recorded for the label in the trio Fly (with Larry Grenadier and Jeff Ballard) and on two albums led by Billy Hart. And Bollani previously played alongside Turner on Enrico Rava's 2008 ECM album New York Days. "I love Mark's sound because it's very particular," the pianist says. "A lot of saxophone players today, they are playing very well, but they sound like somebody else. Mark has a special voice, particular and unique.""I love to take my inspiration from musicians, thinking about their sounds," Bollani says. "For example, there's this way in Bill's playing of using the empty holes, using the silence in the music, which inspired me. Jazz is full of people playing a lot of notes, cascades of notes, arpeggios and scales. Bill is special because he's careful to use space. My first jazz teacher told me to be careful to hold back. Because many jazz pianists - including me, because I was a fan of Oscar Peterson and Art Tatum - have to take care to not fill in all the blanks. That's why I'm in love with Ahmad Jamal, because he's balances the music and the silence."No preconceptions was the rule for Joy In Spite Of Everything, as the album was made by a band brought together just for the session. "We went into the studio without all meeting each other," Bollani explains. "I had never before met Bill, neither had Jesper and Morten. And Morten had never played with Mark. But that's what I like about jazz music: You just go and you see what happens."***Stefano Bollani was born in 1972 in Milan and began playing piano at age 6, enrolling in Florence's Cherubini Conservatory five years later. He first performed professionally at 15, initially in pop contexts. He began playing with Enrico Rava in 1996, confirming a deeper commitment to jazz. Since then, he has played with Pat Metheny, Martial Solal, Lee Konitz, Phil Woods, Gato Barbieri, Miroslav Vitouš, Richard Galliano, Michel Portal and Roberto Gatto, among others. Bollani has recorded for ECM since 2003, starting with a sequence of albums with Rava: Easy Living (with an all-Italian quintet), Tati (trio with Paul Motian), The Third Man (duo) and New York Days (quintet with Motian, Mark Turner and Larry Grenadier). Bollani made his ECM debut under his own name with Piano Solo in 2007, then released the trio disc Stone In The Water with Jesper Bodlisen and Morten Lund in 2009. The pianist has also made duo albums for ECM with Chick Corea (Orvieto) and Hamilton de Holanda (O Que Sera).Bollani has also recorded two collections of orchestral works for Decca with Leipzig's Gewandhausorchester conducted by Riccardo Chailly, one featuring the works of George Gershwin and the other, Sounds of the '30s, including Ravel's Piano Concerto in G along with works by Stravinsky, Kurt Weill and Victor de Sabata. He has also composed for big band, and published a novel (La Sindrome di Brontolo, 2006). Among his awards is the European Jazz Prize as Musician of the Year for 2007.


12,95 € (19,95 €)
Image Indicum
4/5 i Dagens Nyheter

4/5 i Sydsvenskan

4/5 i GP


"Första låten på Bobo Stensons nya skiva med Anders Jormin och Jon Fält är tillägnad den amerikanske trumslagaren Paul Motian, som dog ifjol men hann medverka på Stensons och basisten Jormins album "Goodbye" från 2005. Norrmannen Jon Christensen, som var trions ordinarie trummis innan Fält, spelade ofta i linje med den poetiska och öppna spelstil som Motian utvecklade i Bill Evans trio, och som även Fält har återknutit till. Men på just den här skivan gör Fält överraskande lite så. När han kommer in, till en början helt ensam och direkt efter första låten (Evans "Your story", som Stenson framför solo), är det med en melodisk och repetitiv trumfigur som etablerar låtens grundpuls och - utan omsvep - ett direkt groove. Det är ingen försumbar detalj, utan en tendens som starkt påverkar min upplevelse av hela skivan. Även Jormin spelar ovanligt groovigt. Och det fungerar precis lika bra med Stensons sofistikerade, djupt lyriska spel som när kompet flyter mer löst. Det gör det också i flera spår på skivan. Men om trions vokabulär redan är mycket brett, med drag av såväl jazz som folk- och kammarmusik, så innebär det lite rakare inslaget på "Indicum" ytterligare en framhävd kvalitet.
(Dagens Nyheter)

"Albumet vilar...i en enda stämning - bitvis högtidlig, i vissa lägen direkt psalmlik - där spåren är minst lika mycket bitar i det stora pusslet som självständiga existenser. Musiken görs rund, tät och mjuk, men inte tillrättalagd eller mesig och det beror framför allt på att de tre har en sådan väldig klangmedvetenhet och känsla för nyanser. Mycket mera demokratisk än såhär blir knappast en jazztrio. Stenson, Jormin och Fält kompletterar och backar ständigt upp varandra, varje man kommenterar och understryker vad de andra hittar på, utan att trampa på tår eller musikaliska idéer. Jag ser för min ínre syn hur de tre sträcker ut armarna och spelar och lägger till på varandras instrument. Stensontrion väljer som vanligt låtar helt fritt. Stenson inleder ensam med en kort version av lyrikmogulen Bill Evans "Your Story", liksom för att sätta tonen. Trion levererar sitt eget nedtonade titelspår, vävd kring en enda pianoton och Jormins stråkspel i diskanten, och vecklar sedan ut Wolf Biermanns vackra "Ermutigung". Den traditionella norska "Ave Maria"-melodin tassar över mot folkmusiken, medan George Russells "Event VI" har en saltare och mera påträngande personlighet. I den här atmosfären får spjuvern Jon Fält vid trumsetet inte samma stora manege för sitt gränslösa rytm- och ljudlekande som live. Men även som fantasifull finsnickare är han svårslagen."
(Sydsvenskan)

"Förra skivan med mästerpianisten Bobo Stensons trio, Cantando, hör till de där vars kvaliteter gör att man aldrig riktig vill förpassa dem till arkivhyllan. Åter har Stenson, Jon Fält, trummor, och Anders Jormin bas, arbetat ihop ett gäng låtar av så skilda slag som Bill Evans Your story (solopiano), Carl Nielsens Tit er jeg glad och Wolf Biermanns Ermutigung (Uppmuntran). Det är ännu ett strålande exempel på trions enastående förmåga att framgångsrikt botanisera över ett brett fält för att hitta melodiska och lyriska kvaliteter och med små åthävor göra dem till stor triojazz i luftiga och subtilt enkla arrangemang. Lyssna till exempel på Ariel Ramírez La Peregrinacion."
(Göteborgs-Posten)

Bobo Stenson, piano; Anders Jormin, double bass; Jon Fält, drums

Four years after "Cantando", a new album from the Bobo Stenson Trio - recorded in Lugano last December - explores a broad arc of material. Here we find: free playing (the trio has its own, fresh approach to collective improvising), tunes by Bill Evans ("Your Story", offered here as a tribute to Paul Motian, for whom this tune was a favourite) and by George Russell ("Event VI" from "Living Time", another piece associated with Evans), Danish composer Carl Nielsen's "Oft Am I Glad", a Norwegian hymn (in an arrangement by Anders Jormin and folk singer Sinikka Langeland), contemporary composition by Norway's Ola Gjeilo, a Wolf Biermann protest song, Argentine composer Ariel Ramírez's folkloric "La Peregrinación", and more. Wide-ranging repertoire has become a hallmark of Bobo Stenson recordings. But it's not just the eclecticism that is striking: Bobo Stenson, Anders Jormin and Jon Fält take their far-flung sources and make of them an organic music that sings with its own voice.



As the New York Times has noted "Mr. Stenson makes fairly sublime piano trio records without over-arranging, overplaying or over-bandleading. In his mid-60s now, he's the repository of half a century of the development of free jazz, in particular the European post-1960s kind, with its folk and classical leanings. Yet he wears it all lightly. In his recent records you don't hear strategies or contentions but a natural working flow."


12,95 € (19,95 €)
Image Saltash Bells
5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET

"John Surmans nya soloinspelning Saltash bells är hans första sedan 1995 års A biography of the Rev Abaslom Dawe, men den formas i samma fria och förutsättningslösa formfilosofi som de tidigare soloalbumen. Liksom på dessa arbetar John Surman med dialektiska överdubbningar, där varje skikt ger en grund för nya improvisationer. Skikt läggs på skikt i en rörlig struktur, där Surman skapar en sällsam spänning i den förtätade associationsväven. Men musiken präglas också av en upphöjd frihetssträvan, av en fantasifull och starkt visuell flykt där enkla rytmer och meloditeman bryts mot en radikalare formupplösning."
(Svenska Dagbladet)

John Surman, soprano, tenor and baritone saxophones, alto, bass and contrabass clarinets, harmonica, synthesizer

John Surman is an exceptionally versatile musician and his instrumental prowess has been showcased in many contexts. Yet his solo albums may be the best sources for insights into his melodic imagination. If you want to understand the wellsprings of his creativity, the solo albums are the place to go; "Saltash Bells" ranks with the best of them. This time around the compositions were inspired by the West Country of John's English childhood, memories of special places - and sounds. The title track refers to the echoes of bell ringing from Saltash church resounding around the Tamar River valley, at the border of Cornwall and Devon. "Whistman's Wood", meanwhile, evokes the mysterious petrified forest of Dartmoor ... And so it goes, ancient haunts inspiring vivid new music.


12,95 € (19,95 €)
Image Avenging Angel
Craig Taborn: solo piano

Link to e-card

"Avenging Angel", a powerful, creative and rigorously uncompromising album, is the first unaccompanied solo disc in Craig Taborn's discography as well as the first ECM recording issued under his name. The album was recorded in the exceptional acoustic of the recital room at Lugano's Studio RSI, with Manfred Eicher producing.

The disc follows several distinguished 'sideman' appearances for ECM, including three Roscoe Mitchell albums - "Nine To Get Ready", "Composition / Improvisation Nos. 1, 2 & 3" and the recent "Far Side" - as well as Michael Formanek's "The Rub and Spare Change", Evan Parker's "Boustrophedon" and David Torn's "Prezens". Taborn (born 1970) has been widely-valued for his resourcefulness as an improviser, in and out of the jazz tradition, since the early 1990s, when his work with saxophonist James Carter's groups drew the attention of musicians, press and listeners alike. His own groups have since explored a range of options, and he's also been at the forefront of experiments cross referencing jazz and electronics. In this regard his 2004 album "Junk Magic" (on the Thirsty Ear label), has been cited as a pioneering work, and Craig has repeatedly been voted #1 Rising Star Keyboardist in the DownBeat Critics Poll.

In the last few years, however, solo piano performance has become a priority for Craig Taborn. "If the areas of improvisation that I deal with are always 'compositional' in a certain sense, in this case a very focussed compositional approach is applied, rather than allowing a broader exploration to yield a result. Throughout this recording I'm honing in on specific details. The music is really improvised: I just start. But having started, I try to relate everything that happens, like the motivic or rhythmic and textural detail, to the initial ideas as closely as I can. In terms of my own playing I try to have things emerge from the musical material itself. And a lot of that can depend on the instrument, too [in Lugano, a Steinway D]: the sound of the piano itself and what it is generating. I'm interested in the history of piano music, certainly, but I'm not hearing the instrument quite in those terms. I'm experiencing it also as a pure sound source, very aware of the tones and the overtones and how the instrument is ringing. This music is not about 'transcending the piano' as much as it is about working with what is possible within it. "

Amongst the album's striking characteristics is the way in which Taborn balances density of sound-events and structural clarity. "I like transparency and I like the details to be clear. But I also like layering the sounds: I like a complex palette, multiple voices, multiple rhythms, but I also want to be able to discern things, including all the spectral details that come up. "

Craig Taborn is on tour in May in Europe and June in the US playing solo concerts in the spirit of "Avenging Angel". 2011 seems set to be a busy year for the pianist, and the solo concerts follow on from international touring activity with the Michael Formanek Quartet.


12,95 € (19,95 €)
Image Lontano
Preis der deutschen Schallplattenkritik, Bestenliste 4/2006
Stereoplay, Jazz-CD des Monats


"Lontano is full of the paradoxes embodied by all great music: of silence being given voice; of time simultaneously expanded, condensed, and brought to a full stop; and of the pains and joys of souls far away re-created in the listener's heart. As was true of Soul of Things and Suspended Night, his first two records with this almost telepathic trio, it is the best thing Tomasz Stanko has done."
(Stereophile)

"A European free-jazz pioneer who played in Komeda's groundbreaking quintet and Alex von Schlippenbach's Globe Unity Orchestra, the 64-year-old Stanko nonetheless remains faithful to melody, albeit fractured, and internal harmonic structure. He builds tension in his music by abstractly aligning those elements at often exquisitely unhurried but not exactly relaxed tempos and in vast, yet somehow intimate spaces, and also by injecting the occasional mercurial run after long-held-notes and legato phrases. Wasilewski, Kurkiewicz, and Miskiewicz, who have recorded together as Trio, are as in-synch with Stanko as Herbie Hancock, Ron Carter, and Tony Williams were with Miles Davis, whose bittersweet expressiveness Stanko neatly matches."
(The Absolute Sound)

Tomasz Stanko Quartet:
Tomasz Stanko, trumpet
Marcin Wasilewski, piano
Slawomir Kurkiewicz, double-bass
Michal Miskiewicz, drums

Recorded November 2005


12,95 € (19,95 €)
Image Being There
Jazzreview, Editor's Choice
Jazz Magazine, Disque d'émoi
Jazzman, Choc du mois
Piano News, CD des Doppelmonats


"Pianist/composer Tord Gustavsen and his collaborators, Harald Johnsen and Jarle Vespestad, have crafted a dozen contemplative wonders on Being There. Opener "At Home" is a quiet, impressionistic piece. It has a subtle melodic quality, performed with a good deal of patience, yet it has an intriguing cinematic feel. ... "Still There" is one of several hymns offering a fascinating interplay between abstraction and gospel roots."
(Billboard)

"Gustavsen's tunes are hypnotically strong, and the integration of bass and drums in his regular trio is total. ... It's possible for even hardcore jazzers to get the point about Tord Gustavsen. This one just did."
(The Guardian)

Tord Gustavsen Trio:
Tord Gustavsen, piano
Harald Johnsen, double-bass
Jarle Vespestad, drums

Recorded December 2006


12,95 € (19,95 €)
Image My Foolish Heart
My Foolish Heart is the latest solo album by master guitarist Ralph Towner, recorded at Lugano’s Auditorio Stelio Molo RSI in February 2016, and produced by Manfred Eicher. Solo music is an important thread through Towner’s rich discography. Diary was the title he gave to his first ECM solo album back in 1973 and each of his solo albums since then – the list includes Solo Concert, Ana, Anthem, and Time Line - has had a special autobiographical, diary-like character. The solo music is where one can see most clearly the inspirational strands informing Towner’s music. He alludes to this in the performer’s note introducing the new album, his first solo disc in a decade:

“‘My Foolish Heart’, the title song of this album had an immeasurable impact on my musical life, as it did with many of my colleagues in the world of jazz and improvisation. The seminal version, played by Bill Evans, Scott LaFaro and Paul Motian set me on a course to try to attain the magic of this trio in my own attempts to play the piano, and later, on the classical guitar which became my principal instrument. I needed to know how it felt to inhabit such a reverent musical space. So, many years later, I’ve decided to pay a visit to this song and include it among a variety of my own pieces. I hope I’ve continued to use the inspiration I gained from that first encounter in all the music I play.”



12,95 € (19,95 €)
Image Travel Guide
This story of three guitar players - from the US, Austria and Kazakhstan - begins in Australia. Ralph Towner and Wolfgang Muthspiel were on tour there, as solo performers, when they crossed paths with Slava Grigoryan. Grigoryan, aware that both Towner's and Muthspiel's improvising was influenced by classical playing experience as well as jazz suggested a three-way collaboration. A first tour, in 2005, presented the three of them as soloists, then in duets and finally in trio. After the first few concerts, Muthspiel has reported, they felt very much like a band, and they have continued to play together each year, further developing the group concept. In 2009, the group's early progress was documented on the album From A Dream, released by Muthspiel's own Material Records label.


12,95 € (19,95 €)
Image In cerca di cibo
12,95 € (19,95 €)
Image Angel Song
Angel Song represents the uniting of four exceptional improvisors with unique artistic identities. This beautiful recording features the legendary Kenny Wheeler, Lee Konitz, Dave Holland and Bill Frisell coming together for the very first time. This unique drummerless quartet performs a program of all Kenny Wheeler compositions and has the undefinable hallmarks of a classics.

Kenny Wheeler, trumpet, flugelhorn
Lee Konitz, alto saxophone
Bill Frisell, guitar
Dave Holland, double-bass

Recorded February 1996


12,95 € (19,95 €)
Image Break Stuff
Vijay Iyer Trio:
Vijay Iyer, piano
Stephan Crump, double bass
Marcus Gilmore, drums


"Break Stuff" is what happens after formal elements have been addressed. Vijay Iyer calls the break "a span of time in which to act. It's the basis for breakdowns, breakbeats, and break dancing... it can be the moment when everything comes to life." A number of the pieces here are breakdowns of other Iyer constructions. Some are from a suite premiered at New York's Museum of Modern Art, some derive from Open City, a collaboration with novelist Teju Cole and large ensemble. The trio energetically recasts everything it touches. "Hood" is a tribute to Detroit techno pioneer Robert Hood. On "Work", Vijay pays homage to his "number one hero", Thelonious Monk. "Countdown" reconsiders the classic Coltrane tune inside a rhythmic framework inspired by West African music. "Mystery Woman" is driven by compound pulses which owe a debt to South Indian drumming. Fast moving and quick-witted, the group has developed a strong musical identity of its own, with an emphasis on what Iyer calls "co-constructing", exploring all the dynamics of playing together. Yet the three players also get abundant solo space and, in a reflective moment at the album's centre, Iyer plays a moving version of Billy Strayhorn's "Blood Count" alone. Break Stuff, recorded in June 2014 at New York's Avatar Studio and produced by Manfred Eicher, is the third ECM release from Vijay Iyer. It follows the chamber music recording Mutations and the film-and-music project Radhe radhe: Rites of Holi. The Vijay Iyer Trio is touring in the US and Europe in February and March 2015.


12,95 € (19,95 €)
Image Universal Syncopations
Preis der deutschen Schallplattenkritik, Bestenliste 1/2004
Jazz Review, Editor's Choice
Jazz Magazine, Disque d'émoi
Jazzman, Choc de l'année
Jazzman, Choc du mois
Répertoire, Recommandé
Stereoplay, CD des Monats
La Liberté, Coup de cœur


"Bassist Miroslav Vitous is back. After a long hiatus from jazz, his latest album Universal Syncopations is a powerful statement that picks up his distinguished career from where he left off eight years ago. ... With a dazzling group of sidemen who have all been a part of his musical history, Vitous has created a major statement that could well be one of the critics' picks of 2003. ... While Universal Syncopations is both eloquent and exacting in its inner detail, it never lacks for inspiration. On some tracks Vitous takes the melody on bass, yet the internal dynamics and balance of the overall instrumentation are never upset. Everyone is sure of a personal role and place in shaping this music. Somehow it seems to be a natural extension of the questing brilliance of his 1969 album, Infinite Search. Somehow the past has become the present and present suggests the future as well."
(Jazzwise)

Infinite surge! Miroslav Vitous, the great bassist and Weather Report founding member, with an extraordinary cast of old friends, musicians who have changed the course of jazz, in an exciting album that is at once timeless and contemporary.When Vitous and producer Manfred Eicher first began discussing this project - Miroslav's first ECM recording in a decade - one of the conceptual models was the bassist's very first leader date, 1969's "Infinite Search". That historic landmark was long regarded, especially by musicians, as one of the crucial documents of the era. "Universal Syncopations" embodies the spirit of that time without being in any sense nostalgic. The new disc seems to make an ellipsis, continuing where "Infinite Search" left off, picking up the story. The central characters are now mature musicians, yet the purity of the playing remains its most striking characteristic. It retains, thanks to Vitous's compositions and concept, the freshness of discovery. This is the quality that links the album to an era when music was the only "agenda", before the speculative dawn of so-called fusion music, to a time when the protagonists were all still in the process of finding their voices.

Jan Garbarek, soprano and tenor saxophones
Chick Corea, piano
John McLaughlin, guitar
Miroslav Vitous, double-bass
Jack DeJohnette, drums

Recorded 2002-2003





12,95 € (19,95 €)
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