In March 2005 Eleni Karaindrou presented what she called “a scenic cantata” at the Megaron in Athens, a tour through her music for film and theatre, with musical themes newly combined and contrasted. A live audio recording, “Elegy of the Uprooting”, was issued in 2006: “The two-CD set interweaves excerpts of her music from 13 different scores spanning more than two decades, although the irresistible congruence of the music is such that newcomers to Karaindrou’s oeuvre would be forgiven for thinking this is newly composed. The music seduces by its profound beauty, tenderness and candour.”. – International Record Review. Here is the video and audio document of the event.
Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 – some 20 months after the concert captured on La Scala.
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.
Kenny Wheeler's beautiful sound on trumpet and his wide range are well-displayed on his four compositions, three of which are given performances over ten minutes long. With the assistance of ECM regulars Jan Garbarek (on tenor and soprano), guitarist John Abercrombie, bassist Dave Holland, drummer Jack DeJohnette and (on one song) guitarist Ralph Towner, Wheeler emphasizes lyricism and romantic moods on this fine set of original music.
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.
First ECM solo album from the Norwegian violinist who has gained many friends for his work with the Christian Wallumrød Ensemble. Økland’s solo music is strongly inspired by the rich Norwegian fiddle tradition and its freedom, variation and individuality, yet what he plays is not purely ‘folk music’ rather a reinvention of folk forms, with free improvisation and contemporary composition also powerful influences. The ‘personality’ of the instruments themselves is also an inspiration: on “Monograph” Økland makes the most of the ‘drone’ qualities of the viola d’amore and the Hardanger fiddle (he plays both old and modern models) as well as an old violin from 1700, in a recital of subtle and melodic invention.