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.
If one were to compile a list of iconoclastic and innovative guitarists who came to prominence in the 1980s and 1990s, the list would have to include such names as Michael Hedges, Adrian Belew, David Torn and Steve Tibbetts. While Tibbetts is probably the least known of the four, his work is easily on par with that of the others. What makes Tibbetts unique among these is that he is equally prone to playing acoustic and electric guitars. He has released several all-acoustic albums, but most of his albums feature a good mixture of both, as well as judicious use of electronic effects and a heavy reliance on a variety of exotic and familiar percussive instruments. Safe Journey is all of the above in a nutshell.
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.
The second ECM New Series album to fully showcase pure-toned Estonian vocal group Vox Clamantis and its artistic director/conductor Jaan-Eik Tulve is devoted to compositions by their great countryman, Arvo Pärt – whose music has been the most performed globally of any living composer over the past five years. This album – titled The Deer’s Cry after its first track, an incantatory work for a cappella mixed choir – is also the latest in an illustrious line of ECM New Series releases to feature Pärt’s compositions, the very music that inspired Manfred Eicher to establish the New Series imprint in 1984.
"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.
This six-CD set, with recordings from 1972 to 1984, includes the albums Conception Vessel, Tribute, Dance, Le Voyage, Psalm and It Should’ve Happened A Long Time Ago. Paul Motian’s innovative drumming with the great trios of Bill Evans and Paul Bley had already assured him of a place in jazz’s history books, but Motian had not considered life as a bandleader until ECM proposed a recording session under his own name. “Conception Vessel” opened floodgates of creativity. Through these recordings we hear not only the evolution of several outstanding Motian ensembles and the birth of the enduring Motian/Frisell/Lovano trio, but also the growth of confidence of a unique jazz composer. In Paul’s music, memories of Turkish and Armenian melodies he had heard as a child were filtered through a love of jazz.