Enjoy three A-list players teaming up to celebrate the sorties into the wilder reaches of jazz-rock made by Tony Williams’s band, Lifetime. John Scofield is at his bluesy best vying with the versatile Hammond of Larry Goldings, Jack DeJohnette on drums is a precise mix of grace and fire.
The stage cantata David features Eleni Karaindrou’s music for a unique piece of Aegean drama, a verse play with words by an unknown 18th century poet from the island of Chios. Its text (first published only in 1979), invites a musical response and Greek composer Karaindrou rises splendidly to the challenge, imaginatively moving between past and present in her settings for mezzo-soprano and baritone singers, instrumental soloists, choir and orchestra.
The Danish String Quartet has had some wildly original programming ideas; here they settle for just a well-thought-out set of contemporary pieces. All three of these string quartets are early works by composers who have since gone on to renown; at the time of the album's 2016 release, Hans Abrahamsen was gaining lots of attention from well beyond his native Denmark.
Black Ice is a nice image for Dutch pianist Wolfert Brederode’s new trio music, with its gleaming lyricism, transparency, and hint of danger, as well as sleek melodic invention both from the leader and from Icelandic bassist Gulli Gudmundsson. Brederode and Gudmundsson have collaborated often over the last two decades in contexts from free improvisation to theatre music and have a keenly honed intuitive understanding. Jasper van Hulten is a resourceful addition to the team, a tone-sensitive drummer adept at embellishing the sensitive musical language and sense of interplay. The album, recorded at Lugano’s Studio RSI in July 2015 and produced by Manfred Eicher, is issued as the Brederode Trio goes on tour in the Netherlands…
Piggybacking on 1992’s Invisible Storm, ECM maverick Edward Vesala returned with his organic collective, Sound & Fury, as our guide for Nordic Gallery. Vesala draws a thinner circle around his ensemble this time around, weaving inside it a dreamcatcher for communal freedom, as exemplified in the 11-minute “Bird In The High Room,” a menagerie of cymbals, muted horns, drums, and birdsong.
La produzione di ECM è sconfinata ed estrarne una raccolta antologica sarebbe stato davvero improbo. Musica Jazz ha voluto così sottolineare un aspetto non sempre chiaro ai più, ovvero la qualità artistica e strumentale dei musicisti italiani, caratteristiche che hanno meritato l’attenzione di Manfred Eicher e del suo staff. E anche in questo caso la selezione non è stato semplice, costringendo a trascurare – obtorto collo ma per prosaiche ragioni di spazio – alcune eccellenti produzioni del passato.
German-born composer/trumpeter Michael Mantler and his then-wife Carla Bley were instrumental in developing within jazz the idea of self-sufficiency and independence from established record companies. Their creation of the Jazz Composer's Orchestra, with recordings released on their own label, was the culmination of this endeavor, and the first recording was one of the masterpieces of creative music in the '60s. Mantler had come from the European avant-classical tradition and sought to provide an orchestral framework supporting some of the most advanced musicians in avant-garde jazz – and he succeeded magnificently.
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).
Long before ECM released its first remix album (for Nils Petter Molvær’s Khmer), it put out this, its first singles collection. Or so it’s nice to think: the title actually has nothing to do with the content. For their third album, Terje Rypdal & the Chasers instead spit out one of the most transcendent rock albums this side of the Milky Way. So much of that transcendence lies in the bandleader’s characteristic sere. When spurred on by the keyboard stylings of Allan Dangerfield and Audun Kleive’s clear-and-present drumming, he simply can’t go wrong.