The Norwegian jazz composer and guitarist Terje Rypdal's homage to Miles Davis's BITCHES BREW has all the crepuscular electric piano and muted trumpet of the original, with the addition of the atonal "That's More Like It" and the menacing electronic underpinnings of "Jungeltegrafen" emphasizing the continuing influence of contemporary musical genres on jazz.
The New York Times has praised violinist Miranda Cuckson’s “undeniable musicality,” while Gramophone has declared her “an artist to be reckoned with.” Born in Australia and educated in America, she makes her ECM New Series debut – alongside pianist Blair McMillen – with three 20th-century milestones: the Hungarian Béla Bartók’s Violin Sonata No. 2 (1922), the Russian Alfred Schnittke’s Violin Sonata No. 2 “Quasi una Sonata” (1968) and the Pole Witold Lutoslawski’s Partita for Violin and Piano (1984).
This is a collaboration between Rypdal (on electric guitar & synth), and David Darling (cello). If you think electric guitar & cello is an odd combination for a band, you're right! If you think it couldn't possibly work, you're wrong!! Moody and compelling, and definitely not for everyone.Worth it just for the track "Mirage", which lives up to its title sonically. The track "Laser" does the same also… a blistering solo electric guitar kills any semblance of peace and silence, and after it's over, sets up the hot-summer-day-let-me-lay-and-listen mood for the rest of the CD. All are well worth the listening effort.
Athens-born and Munich-based composer Konstantia Gourzi makes her ECM New Series label debut. “What historical voices commingle in the current idiom of a composer whose cultural roots lie in the birthplace of rhetoric, but who emigrated to take a musical apprenticeship in European constructivism?” asks Ingrid Allwardt in the liner notes.
Violin virtuoso Paul Giger revisits his roots with this, his second solo recording, Alpstein, which features pieces for violin, saxophone, and percussion based on the folk traditions of the Alpstein region of Switzerland. Three pieces here are entitled "Zäuerli" – named after the sad majestic "natur yodel" tradition of the Outer Rhoden region. These are sweeping and majestic with high harmonic bowstrokes. This recording features the saxophone work of Jan Garbarek and the percussion of Pierre Favre. Both add an incredible warmth to the recording on the pieces they are featured on, most notably "Alpsegen" with its soaring sax lines and manic percussion. Also notable is "Chlauseschuppel," featuring the sounds of cowbells specific to that region. Informative booklet included.
Norwegian guitarist Jacob Young’s sophomore effort follows coolly on the heels of his debut, Evening Falls. The wealth of Scandinavian talent at his side is enviable, to say the least. Trumpeter Mathias Eick, reedman Vidar Johansen, bassist Mats Eilertsen, and drummer Jon Christensen bring their uniquely tessellated feel for rhythm and hues to ten of Young’s originals, of which the title track sets the stage with the bandleader’s unmistakable acoustic. Mallet-caressed cymbals, trumpet, bass clarinet, and upright bass comingle in simpatico resonance, riding a slow and steady frequency from start to finish.
This is arguably the first recording to fully flesh out the aural expanse for which ECM has come to be known. Although I am well aware of the immense groundswell of musical activity that was the 1970s, certainly an album like this was a refreshing and altogether mind-altering experience for those fortunate enough to be young musical explorers at the time. Featuring a lineup of musicians who would go on to weave ECM’s significance into the fabric of time, Solstice is a tour de force of musicianship, writing, arrangement, and recording.
"Aquarela do Brasil," an unofficial anthem of Brazil, may have received literally thousands of different version and interpretations, but even then, Egberto and Brazilian percussionist Naná Vasconcelos (his sole accompanist here) were able to devise an extremely original version, which opens with an unassuming stylized samba introduction, slowly bringing elements which conduce the listener to the piece's identification. Egberto is very fond of percussive attacks and ethereal configurations, both acquiring superior importance in his music, not being necessarily attached to or supportive for a musical theme or melody.