TOUCHSTONES - Celebrating 50 Years Of ECM
Since the formation of ECM in 1969 by Manfred Eicher, the label has released some magnificent music from around the globe. In fact it would be impossible to follow the major developments in the music over this time span without having a significant number of ECM releases in your collection.
Such is the diversity of the music now released by ECM, with the addition of the New Series releases, that there are many aficionados that are not solely jazz fans but followers of the label itself.
To celebrate its fiftieth year the imprint is re-issuing 50 titles that have been out of print under the Touchstones banner, with the first 25 of these having been released at the end of January, and a further 25 to be released later in the year. This article is the first in a five part series, exploring the Touchstone re-issues, with a brief synopsis of each album.
Such is the diversity of the music now released by ECM, with the addition of the New Series releases, that there are many aficionados that are not solely jazz fans but followers of the label itself.
To celebrate its fiftieth year the imprint is re-issuing 50 titles that have been out of print under the Touchstones banner, with the first 25 of these having been released at the end of January, and a further 25 to be released later in the year. This article is the first in a five part series, exploring the Touchstone re-issues, with a brief synopsis of each album.
GEORGE ADAMS - Sound Suggestions
ECM 674 3127
George Adams (tenor saxophone, vocal);Heinz Sauer (tenor saxophone); Kenny Wheeler (trumpet, flugelhorn); Richard Beirach (piano); Dave Hlland (double bass); Jack DeJohnette (drums)
Recorded May 1979
This is a most interesting re-issue as it was a one off association with Manfred Eicher and ECM for the saxophonist, George Adams, yet finds him with a group of musicians who were mainstays of the label in Kenny Wheeler, Jack DeJohnette and Dave Holland. The music produced is an odd assortment, not of material, but of musicians who fail to gel as a single cohesive unit but rather splinter off into smaller groupings to accommodate whoever might be taking centre stage at any given moment. This also has the knock on effect that there are times that Adams may feel that he has been left out in the cold at his own party.
What is really interesting is how bassist, Dave Holland and drummmer, Jack DeJohnette work together, a pairing that by this point has already become well oiled machine. So attuned are they together that hey are able to switch as one to fit the needs of the soloist, providing very different support for each. Just listen to how they change the rhythmic feel on Adam's composition, 'Imani's Dance' when accompanying the tenorist and then change for for the very different solo of Kenny Wheeler. This often seismic shift negotiated seamlessly by bass and drums brings its own problems for pianist, Richie Beirach, who is often heard searching for his own place in proceedings, and is perhaps most fluid and creative when comping for the trumpeter.
Adams himself is stylistically indebted to Sonny Rollins sharig a melodic sense that is steeped in the tradition, while also being forward looking. He is also well versed in Coltrane's harmonic language, and the unfettered playing of Albert Ayler. His playing is drenched in the blues, and this comes to the fore on the infectious 'Got Something Good For You' for which he also supplies the impassioned vocals.
And this just about sums up the entire set. Some fiery and thoughtful playing from all concerned (although the need for a second tenor player in Heinz Sauer is never fully justified), but somehow all are at odds with the music, and at times with each other.
ECM 674 3127
George Adams (tenor saxophone, vocal);Heinz Sauer (tenor saxophone); Kenny Wheeler (trumpet, flugelhorn); Richard Beirach (piano); Dave Hlland (double bass); Jack DeJohnette (drums)
Recorded May 1979
This is a most interesting re-issue as it was a one off association with Manfred Eicher and ECM for the saxophonist, George Adams, yet finds him with a group of musicians who were mainstays of the label in Kenny Wheeler, Jack DeJohnette and Dave Holland. The music produced is an odd assortment, not of material, but of musicians who fail to gel as a single cohesive unit but rather splinter off into smaller groupings to accommodate whoever might be taking centre stage at any given moment. This also has the knock on effect that there are times that Adams may feel that he has been left out in the cold at his own party.
What is really interesting is how bassist, Dave Holland and drummmer, Jack DeJohnette work together, a pairing that by this point has already become well oiled machine. So attuned are they together that hey are able to switch as one to fit the needs of the soloist, providing very different support for each. Just listen to how they change the rhythmic feel on Adam's composition, 'Imani's Dance' when accompanying the tenorist and then change for for the very different solo of Kenny Wheeler. This often seismic shift negotiated seamlessly by bass and drums brings its own problems for pianist, Richie Beirach, who is often heard searching for his own place in proceedings, and is perhaps most fluid and creative when comping for the trumpeter.
Adams himself is stylistically indebted to Sonny Rollins sharig a melodic sense that is steeped in the tradition, while also being forward looking. He is also well versed in Coltrane's harmonic language, and the unfettered playing of Albert Ayler. His playing is drenched in the blues, and this comes to the fore on the infectious 'Got Something Good For You' for which he also supplies the impassioned vocals.
And this just about sums up the entire set. Some fiery and thoughtful playing from all concerned (although the need for a second tenor player in Heinz Sauer is never fully justified), but somehow all are at odds with the music, and at times with each other.
CHICK COREA - Piano Improvisations Vol.1
ECM 674 3079
Chick Corea (piano)
Recorded April 21 & 22, 1971
The follow up release, Piano Improvisation Vol.2, was a mainstay of my listening back in the day and served as my introduction to Corea's work in an acoustic setting. The music presented is in two distinct halves, the first half of the album, (or side 1 of the original LP) are not freely improvised pieces but improvisations developed from compositions by the pianist, some of which have remained in his repertoire for much of his career.
Corea's approach to his playing here seems to be to keep it relatively brief, 'Ballad For Anna' is done in under .two and a half minutes yet still manages to convey the beauty of the piece. As would be Chick's way throughout subsequent years and recordings the music is very song like in form, and this format is given its most thorough workout on a lengthy reading of 'Sometime Ago'. Quite different from the delicately swinging version that the pianist would record for ECM on the Return To Forever album with Flora Purim's vocals accompanied by the light and uplifting sound of the electric Fender Rhodes, all propelled by Airto's distinctive work at the traps.
The second side of the LP release is given over to 'Where Are You Now?', a suite of eight pieces that are in complete contrast to the opening first half of the album, and it appears that the suite is partly borne out of freely improvised pieces with Corea teasing phrases delicately out of the keyboard, and on 'Picture 3' can be heard working inside as well as outside of the piano.
'Picture 4' reverts back to a the familar song form with Corea playing what appears to be scored with phrases so familiar in his composition 'What Game Shall We Play Today?', again from the Return To Forever set recorded less than a year later, with the remainder of the 'Eight Pictures' return to the more open ended structures that bring this lovely album to a close.
ECM 674 3079
Chick Corea (piano)
Recorded April 21 & 22, 1971
The follow up release, Piano Improvisation Vol.2, was a mainstay of my listening back in the day and served as my introduction to Corea's work in an acoustic setting. The music presented is in two distinct halves, the first half of the album, (or side 1 of the original LP) are not freely improvised pieces but improvisations developed from compositions by the pianist, some of which have remained in his repertoire for much of his career.
Corea's approach to his playing here seems to be to keep it relatively brief, 'Ballad For Anna' is done in under .two and a half minutes yet still manages to convey the beauty of the piece. As would be Chick's way throughout subsequent years and recordings the music is very song like in form, and this format is given its most thorough workout on a lengthy reading of 'Sometime Ago'. Quite different from the delicately swinging version that the pianist would record for ECM on the Return To Forever album with Flora Purim's vocals accompanied by the light and uplifting sound of the electric Fender Rhodes, all propelled by Airto's distinctive work at the traps.
The second side of the LP release is given over to 'Where Are You Now?', a suite of eight pieces that are in complete contrast to the opening first half of the album, and it appears that the suite is partly borne out of freely improvised pieces with Corea teasing phrases delicately out of the keyboard, and on 'Picture 3' can be heard working inside as well as outside of the piano.
'Picture 4' reverts back to a the familar song form with Corea playing what appears to be scored with phrases so familiar in his composition 'What Game Shall We Play Today?', again from the Return To Forever set recorded less than a year later, with the remainder of the 'Eight Pictures' return to the more open ended structures that bring this lovely album to a close.
PETER ERSKINE - Juni
ECM 674 3481
John Taylor (piano); Palle Danielsson (double bass); Peter Erskine (drums)
Recorded July 1997
This articular trio recorded four albums for ECM over a five year period from 1992 to 1997, creating an small but impressive body of work, with Juni being the final chapter. Over this time the trio forged their own sound and identity, and with each new recording there was a continuous and logical sense of development.
It would seem that it could be construed as pianist John Taylor's Trio as he is often the main composer, although on Juni all three musicians have compositional credits. The opening two pieces, however, are by the pianist and once again we are reminded of the sound that the trio have made their own, a re-cap if you will of the previous albums achievements, with 'Windfall' being classic Taylor; and is followed by the equally wonderful 'For Jan' by Kenny Wheeler. However, these pieces also hint at what was to fellow, and indications that this particular trio had reached the end of the road.
Peter Erskine's composition 'The Ant & The Elk'find the trio playing in a looser and freer manner that was perhaps not to everyone's taste. This openness leaves space for all, and here we find Danielsson's double bass stepping into the silences and Erskine's role at the kit more expansive. The reserve and lyricism return in two outstanding pieces, Palle Danielsson's 'Siri' and 'Fable' that once again is composed by John Taylor.
Bringing the album to a close we hear Erkines's 'Twelve' which has a recurring see-sawing tension and release that never satisfactorily resolves, and 'Namasti' by Diana Taylor that does. This sense of conflict produces some exceptional music, but does ultimately signal the demise of the trio.
ECM 674 3481
John Taylor (piano); Palle Danielsson (double bass); Peter Erskine (drums)
Recorded July 1997
This articular trio recorded four albums for ECM over a five year period from 1992 to 1997, creating an small but impressive body of work, with Juni being the final chapter. Over this time the trio forged their own sound and identity, and with each new recording there was a continuous and logical sense of development.
It would seem that it could be construed as pianist John Taylor's Trio as he is often the main composer, although on Juni all three musicians have compositional credits. The opening two pieces, however, are by the pianist and once again we are reminded of the sound that the trio have made their own, a re-cap if you will of the previous albums achievements, with 'Windfall' being classic Taylor; and is followed by the equally wonderful 'For Jan' by Kenny Wheeler. However, these pieces also hint at what was to fellow, and indications that this particular trio had reached the end of the road.
Peter Erskine's composition 'The Ant & The Elk'find the trio playing in a looser and freer manner that was perhaps not to everyone's taste. This openness leaves space for all, and here we find Danielsson's double bass stepping into the silences and Erskine's role at the kit more expansive. The reserve and lyricism return in two outstanding pieces, Palle Danielsson's 'Siri' and 'Fable' that once again is composed by John Taylor.
Bringing the album to a close we hear Erkines's 'Twelve' which has a recurring see-sawing tension and release that never satisfactorily resolves, and 'Namasti' by Diana Taylor that does. This sense of conflict produces some exceptional music, but does ultimately signal the demise of the trio.
DAVE HOLLAND - Seeds Of Time
ECM 674 3079
Dave Holland (double bass); Steve Coleman (alto & soprano saxophones, flute); Julian Priester (trombone); Marvin "Smitty" Smith (drums, percussion); Kenny Wheeler (trumpet, cornet, pocket trumpet, flugelhorn)
Recorded November 1984
Dave Holland's recording for ECM under his own name are a rather eclectic bunch, although when viewed from a distance there is a continuity and sense of purpose throughout. At home in just about any setting he finds himself, it is perhaps his own albums that tell us more about the bassist than any of his countless sideman appearances. By this juncture of his career the bassist had already laid down an impressive body of work for the imprint, from solo bass and cello recordings and the magnificent Conference Of The Birds with Anthony Braxton and Sam Rivers.
This is Holland's second small group album, sans piano, of the eighties and this open ended ensemble suits the bassist well. The music can perhaps be best described as urban blues, a connection deepened with the contributions of altoist, Steve Coleman via his work with the M-Base collective with other like minded musicians including Greg Osby, Gary Thomas, Cassandra Wilson, Robin Eubanks, et al.
This is heard immediately on the opening track, 'the Coleman penned 'Uhren' and Holland's own joyously swinging 'Homecoming' with superb solos from the alto saxophonist and trumpeter, Kenny Wheeler. All members of the quintet contribute compositions, and all are tightly arranged for the ensemble yet have a looseness in feel that gives the music plenty of scope. This is taken advantage of marvellously by Kenny Wheeler in his solo on the slower, 'World Protection Blues'.
The music moves along at a frenetic pace on 'Gridlock (opus 8), another Steve Coleman composition that captures nicely the impression of New York rush hour blues with some deft slide work from trombonist, Julian Priester. Relief is welcome after the assault of the city and this comes with a delightful bass and percussion duet 'Walk-a-way', before Wheeler's 'The Good Doctor' steps in to prescribe some calm and order.
Holland would continue with a pianoless small group in the nineties, dispensing with trumpet in favour of the vibes and marimba of Steve Nelson with trombonist Robin Eubanks and saxophonists Steve Wilson and later Chris Potter, all of which feeds directly from the work begun here.
ECM 674 3079
Dave Holland (double bass); Steve Coleman (alto & soprano saxophones, flute); Julian Priester (trombone); Marvin "Smitty" Smith (drums, percussion); Kenny Wheeler (trumpet, cornet, pocket trumpet, flugelhorn)
Recorded November 1984
Dave Holland's recording for ECM under his own name are a rather eclectic bunch, although when viewed from a distance there is a continuity and sense of purpose throughout. At home in just about any setting he finds himself, it is perhaps his own albums that tell us more about the bassist than any of his countless sideman appearances. By this juncture of his career the bassist had already laid down an impressive body of work for the imprint, from solo bass and cello recordings and the magnificent Conference Of The Birds with Anthony Braxton and Sam Rivers.
This is Holland's second small group album, sans piano, of the eighties and this open ended ensemble suits the bassist well. The music can perhaps be best described as urban blues, a connection deepened with the contributions of altoist, Steve Coleman via his work with the M-Base collective with other like minded musicians including Greg Osby, Gary Thomas, Cassandra Wilson, Robin Eubanks, et al.
This is heard immediately on the opening track, 'the Coleman penned 'Uhren' and Holland's own joyously swinging 'Homecoming' with superb solos from the alto saxophonist and trumpeter, Kenny Wheeler. All members of the quintet contribute compositions, and all are tightly arranged for the ensemble yet have a looseness in feel that gives the music plenty of scope. This is taken advantage of marvellously by Kenny Wheeler in his solo on the slower, 'World Protection Blues'.
The music moves along at a frenetic pace on 'Gridlock (opus 8), another Steve Coleman composition that captures nicely the impression of New York rush hour blues with some deft slide work from trombonist, Julian Priester. Relief is welcome after the assault of the city and this comes with a delightful bass and percussion duet 'Walk-a-way', before Wheeler's 'The Good Doctor' steps in to prescribe some calm and order.
Holland would continue with a pianoless small group in the nineties, dispensing with trumpet in favour of the vibes and marimba of Steve Nelson with trombonist Robin Eubanks and saxophonists Steve Wilson and later Chris Potter, all of which feeds directly from the work begun here.
PAT METHENY - Watercolors
ECM 674 3475
Pat Metheny (guitar, 12-string guitar, 15-string harpguitar); Lyle Mays (piano); Eberhard Weber (bass); Dan Gottlieb (drums)
Recorded February 1977
This is the album that launched Metheny's career as an ECM artist that would last for the next eight years, and produce one successful release after another. Interestingly, this is all the first recording featuring Metheny with pianist/keyboards player, Lyle Mays who would be a constant collaborator over the years, and this partnership is also the beginnings of what would very quickly become the Pat Metheny Group.
The interplay between Metheny and Mays is immediately apparent. Often Mays will accompany the melody line and solos of the leader, not just in support but also helping to define the overall sound of the Group, and his role and musicianship is often underestimated and underappreciated. When he gets his opportunity to solo he does so with an economy that is impressive, quickly spinning out his highly melodic and inventive improvisations that fit so neatly into the fabric of the tune as if they had been pre-composed. Listen to his solo on 'Lakes' to hear a solo that bristles with melody and invention, and then moves seamlessly out of the spotlight and back into the sound world of the group and tune. This trick is also repeated on the 'Watercolors' and on 'River Quay', and indeed his playing throughout is a joy.
As for the leader, this early album from the guitarist maps out how the subsequent recordings for the imprint are going to develop. The music has, with the benefit of hindsight, the trademark Metheny sound that will spin out light lyrical lines that are enhanced both by his improvisational prowess and the ability to fuse all this within an identifiable and cohesive group sound.
Listening to this marvellous album again the road ahead is clear. The Pat Metheny Group sound is starting to coalesce with the catchy, melody driven pieces such as the aforementioned 'Watercolors', 'Lakes' and 'River Quay' are nicely countered here with some more textural and ethereal sounding cuts such as 'Icefire', 'Oasis' and the three part suite that would make up the bulk of side two of the original LP release, that hints at paths that the guitarist would pursue in more detail over the ensuing decades, and even suggesting his interest in atonality that he would explore with Ornette Coleman in that most unlikely of pairings.
ECM 674 3475
Pat Metheny (guitar, 12-string guitar, 15-string harpguitar); Lyle Mays (piano); Eberhard Weber (bass); Dan Gottlieb (drums)
Recorded February 1977
This is the album that launched Metheny's career as an ECM artist that would last for the next eight years, and produce one successful release after another. Interestingly, this is all the first recording featuring Metheny with pianist/keyboards player, Lyle Mays who would be a constant collaborator over the years, and this partnership is also the beginnings of what would very quickly become the Pat Metheny Group.
The interplay between Metheny and Mays is immediately apparent. Often Mays will accompany the melody line and solos of the leader, not just in support but also helping to define the overall sound of the Group, and his role and musicianship is often underestimated and underappreciated. When he gets his opportunity to solo he does so with an economy that is impressive, quickly spinning out his highly melodic and inventive improvisations that fit so neatly into the fabric of the tune as if they had been pre-composed. Listen to his solo on 'Lakes' to hear a solo that bristles with melody and invention, and then moves seamlessly out of the spotlight and back into the sound world of the group and tune. This trick is also repeated on the 'Watercolors' and on 'River Quay', and indeed his playing throughout is a joy.
As for the leader, this early album from the guitarist maps out how the subsequent recordings for the imprint are going to develop. The music has, with the benefit of hindsight, the trademark Metheny sound that will spin out light lyrical lines that are enhanced both by his improvisational prowess and the ability to fuse all this within an identifiable and cohesive group sound.
Listening to this marvellous album again the road ahead is clear. The Pat Metheny Group sound is starting to coalesce with the catchy, melody driven pieces such as the aforementioned 'Watercolors', 'Lakes' and 'River Quay' are nicely countered here with some more textural and ethereal sounding cuts such as 'Icefire', 'Oasis' and the three part suite that would make up the bulk of side two of the original LP release, that hints at paths that the guitarist would pursue in more detail over the ensuing decades, and even suggesting his interest in atonality that he would explore with Ornette Coleman in that most unlikely of pairings.
BARRE PHILLIPS - Mountainscapes
ECM 674 3049
Barre Phillips (double bass); John Surman (baritone & soprano saxophones, bass clarinet, synthesizer); Dieter Feichtner (synthesizer); Stu Martin (drums, synthesizer); John Abercrombie (guitar)
Recorded March 1976
Although released under his own name, this album recorded in 1976 could be considered as 'The Trio plus guests'. A little unkind maybe, but one certainly gets the overall impression that the main action in the interplay between John Surman, Stu Martin and Philips.
The album is sketched out in eight parts, and after the the arco bass introduction to 'Mountainscape I' Surman's baritone saxophone delves into a furious solo powered alond by bass and drums, before switching to soprano to add even more heat to the already scorching rhythm that is now firmly established. The cavernous sound of Phillips plucked double bass opens 'Mountainscape II' with a synthesized drone in the background which is then peppered with Surman's multi tracked soprano lines, short fragmentary figures that interweave, overlap and dance sparingly over the electronic backdrop.
Double bass once again introduces 'Mountainscapes IV' before again being joined by drums and baritone in a quietly burning performance, with 'Mountainscape V' finds the synthesizer breaking out of its previously rle, providing melodic patterns and motifs that are looped over which Surman lays down his soprano solo, nudged and cajoled by Stu Martin. This piece has John Surman's stamp all over it, mirroring how he would implement electronics into his own solo projects for the label in the years to follow.
The set closes with a real powerhouse with the addition of guitarist, John Abercrombie. Such is the sheer force and exuberance of the final piece, 'Mountainscape VIII' that one laments the fact that the guitarist did not play on any other music on the recording, as the the core instruments of bass, drums, guitar and saxophones lift the music to a higher plane on an already impressive album.
ECM 674 3049
Barre Phillips (double bass); John Surman (baritone & soprano saxophones, bass clarinet, synthesizer); Dieter Feichtner (synthesizer); Stu Martin (drums, synthesizer); John Abercrombie (guitar)
Recorded March 1976
Although released under his own name, this album recorded in 1976 could be considered as 'The Trio plus guests'. A little unkind maybe, but one certainly gets the overall impression that the main action in the interplay between John Surman, Stu Martin and Philips.
The album is sketched out in eight parts, and after the the arco bass introduction to 'Mountainscape I' Surman's baritone saxophone delves into a furious solo powered alond by bass and drums, before switching to soprano to add even more heat to the already scorching rhythm that is now firmly established. The cavernous sound of Phillips plucked double bass opens 'Mountainscape II' with a synthesized drone in the background which is then peppered with Surman's multi tracked soprano lines, short fragmentary figures that interweave, overlap and dance sparingly over the electronic backdrop.
Double bass once again introduces 'Mountainscapes IV' before again being joined by drums and baritone in a quietly burning performance, with 'Mountainscape V' finds the synthesizer breaking out of its previously rle, providing melodic patterns and motifs that are looped over which Surman lays down his soprano solo, nudged and cajoled by Stu Martin. This piece has John Surman's stamp all over it, mirroring how he would implement electronics into his own solo projects for the label in the years to follow.
The set closes with a real powerhouse with the addition of guitarist, John Abercrombie. Such is the sheer force and exuberance of the final piece, 'Mountainscape VIII' that one laments the fact that the guitarist did not play on any other music on the recording, as the the core instruments of bass, drums, guitar and saxophones lift the music to a higher plane on an already impressive album.
DINO SALUZZI - Andina
ECM 674 3098
Dino Saluzzi (bandoneon, flute)
Recorded May 1988
Argentinian born Saluzzi has been recording for ECM since 1982 and has a substantial and significant discography under his belt. Dino Saluzzi was born in a small Argentinian village in 1935, and being taught to play by his father. He later studied formally in Buenos Aires, and retreating back to the rural district of Salta in 1956 to concentrate on his composing.
Many of the recordings feature his unaccompanied bandoneon recitals with Saluzzi able to draw the listener into his sound world, despite any prejudices one may, initially have, with his choice of instrument. It is important here to differentiate between the accordion (which many will assume the bandoneon is), concertina and the instrument that Saluzzi is wielding here with such grace, precision and expression; as with the bandoneon the timbere of the instrument is constantly changing depending on the air pressure, direction of the bellow and choice of keyboard for the melody and accompaniment. In short, allowing for a greater flexibility in sound production, and expression.
For this recording he incorporates the traditional tango with folkloric music to paint evocative images of village life, and changing seasons, drawing you into his world with delightful melodies that are truly engaging. This is not jazz, and it is also not the music of my upbringing or musical heritage, but Saluzzi is such a master storyteller that is difficult not to be moved by the music that depicts a different way of life and music from ones own.
ECM 674 3098
Dino Saluzzi (bandoneon, flute)
Recorded May 1988
Argentinian born Saluzzi has been recording for ECM since 1982 and has a substantial and significant discography under his belt. Dino Saluzzi was born in a small Argentinian village in 1935, and being taught to play by his father. He later studied formally in Buenos Aires, and retreating back to the rural district of Salta in 1956 to concentrate on his composing.
Many of the recordings feature his unaccompanied bandoneon recitals with Saluzzi able to draw the listener into his sound world, despite any prejudices one may, initially have, with his choice of instrument. It is important here to differentiate between the accordion (which many will assume the bandoneon is), concertina and the instrument that Saluzzi is wielding here with such grace, precision and expression; as with the bandoneon the timbere of the instrument is constantly changing depending on the air pressure, direction of the bellow and choice of keyboard for the melody and accompaniment. In short, allowing for a greater flexibility in sound production, and expression.
For this recording he incorporates the traditional tango with folkloric music to paint evocative images of village life, and changing seasons, drawing you into his world with delightful melodies that are truly engaging. This is not jazz, and it is also not the music of my upbringing or musical heritage, but Saluzzi is such a master storyteller that is difficult not to be moved by the music that depicts a different way of life and music from ones own.
LEO SMITH - Divine Love
ECM 674 3215
Leo Smith (trumpet, flugelhorn, steel-o-phone, gongs, percussion); Dwight Andrews (alto flute, bass clarinet, tenor saxophone, triangles, mbira); Bobby Naughton (vibrharp, marimba, bells) with: Charlie Haden (double bass); Lester Bowie (trumpet); Kenny Wheler (trumpet)
Recorded September 1978
I have revisited this album very recently in when reviewing the recently released 21 CD set, THE ART ENSEMBLE OF CHICAGO & ASSOCIATED ENSEMBLES, and there is little to add to my original appraisal. However, further listening has prompted a few additional comments:
"Nearly forty years after its release this is still an astonishing album. The personnel alone is enough to grab the attention and whet the appetite and the resulting music does not disappoint. The musicians move easily from what appear to be loosely notated melodies and cues, which Leo Smith describes as using 'systems of rhythm units' and a system devised for notating and scoring sound, rhythm and silence. This notation system that the trumpeter calls ahrkreanvention which literally means to create and invent musical ideas simultaneously, using the fundamental laws of improvisation and composition. This concept is explored on 'Tastalun' (dedicated to Lester Bowie) that is scored for three muted trumpets, featuring arguably three of the most important contemporary trumpeters of the day in Smith, Lester Bowie and Kenny Wheeler.
In fact there is nothing remotely conventional about this session, just pure music that is difficult to pin down or classify. The musicians move easily from the prepared scores and cues, interspersed with areas in which the ensemble improvise freely in such a way that there is always much space and never a sense of the overcrowding despite the number of musicians involved. Dwight Andrew's alto flute is heard to stunning effect and a wonderful contrast to the brass, with the trumpet weaving melodies around the surrounding soundscape.
The long opening track set the mood and tone for the whole album with flautist Dwight Andrews playing a central role in proceedings. The sound spectrum is further enhanced with the addition of bassist, Charlie Haden, and Andrew's wheeling out the bass clarinet on 'Spirituals: The Language Of Love'. Another stunning performance that features Haden's superb bass playing where he weaves his magic between the open trumpet and understated vibes of Bobby Naughton. "
ECM 674 3215
Leo Smith (trumpet, flugelhorn, steel-o-phone, gongs, percussion); Dwight Andrews (alto flute, bass clarinet, tenor saxophone, triangles, mbira); Bobby Naughton (vibrharp, marimba, bells) with: Charlie Haden (double bass); Lester Bowie (trumpet); Kenny Wheler (trumpet)
Recorded September 1978
I have revisited this album very recently in when reviewing the recently released 21 CD set, THE ART ENSEMBLE OF CHICAGO & ASSOCIATED ENSEMBLES, and there is little to add to my original appraisal. However, further listening has prompted a few additional comments:
"Nearly forty years after its release this is still an astonishing album. The personnel alone is enough to grab the attention and whet the appetite and the resulting music does not disappoint. The musicians move easily from what appear to be loosely notated melodies and cues, which Leo Smith describes as using 'systems of rhythm units' and a system devised for notating and scoring sound, rhythm and silence. This notation system that the trumpeter calls ahrkreanvention which literally means to create and invent musical ideas simultaneously, using the fundamental laws of improvisation and composition. This concept is explored on 'Tastalun' (dedicated to Lester Bowie) that is scored for three muted trumpets, featuring arguably three of the most important contemporary trumpeters of the day in Smith, Lester Bowie and Kenny Wheeler.
In fact there is nothing remotely conventional about this session, just pure music that is difficult to pin down or classify. The musicians move easily from the prepared scores and cues, interspersed with areas in which the ensemble improvise freely in such a way that there is always much space and never a sense of the overcrowding despite the number of musicians involved. Dwight Andrew's alto flute is heard to stunning effect and a wonderful contrast to the brass, with the trumpet weaving melodies around the surrounding soundscape.
The long opening track set the mood and tone for the whole album with flautist Dwight Andrews playing a central role in proceedings. The sound spectrum is further enhanced with the addition of bassist, Charlie Haden, and Andrew's wheeling out the bass clarinet on 'Spirituals: The Language Of Love'. Another stunning performance that features Haden's superb bass playing where he weaves his magic between the open trumpet and understated vibes of Bobby Naughton. "
BOBO STENSON TRIO - War Orphans
ECM 674 3069
Bobo Stenson (piano); Anders Jormin (double bass); Jon Chrsitensn (drums)
Recorded May 1997
At the time that this album was recorded Stenson was going through a bit of a purple patch, and this must rank as one of his best recordings. It catches this particular line up during a period when everything seemed to be coming together musically for the pianist, and collectively. The trio play with a remarkable empathy and cohesiveness that effortlessly translates to the music being played.
With such a strong group identity being forged, this in turn leads t the conclusion that as leader, Stenson has not felt the need to impose his own will on the group by composing the lions share of the material, but instead he draws compositions from a variety of diverse sources ranging from Ellington to the Cuban musician, Silvio Rodríguez, two by Ornette Coleman,as well as three pieces penned by bassist, Anders Jormin.
The trio tackle the material as one entity, such is the almost telepathic understanding between them. Pianist and bassist dovetail perfectly each sharing rhythmic and melodic roles seamlessly. Christensen is the perfect drummer for this setting, and musicality and often understated playing is a joy throughout. Inevitably, the two pieces by Ornette, 'All My Life' and 'War Orphans' sound a little freer in concept and delivery an approach that sits in surprisingly well with the other pieces in the set, with this looseness providing a release from the more tightly structured numbers.
Anders Jormin's 'Eleventh Of January' is wonderfully contained and melodic and epitomizes the delicate side of the trio, as does 'Natt', with the long solo introduction from the bassist that is utterly captivating, before piano and drums join in . At the opposite end of the spectrum, Stenson's sole compositional credit, 'Bengali Blue' drives the trio into altogether different territory.
With Silvio Rodríguez's beautiful 'Oleo de mujer con sombrero' and Duke's 'Melancholia' as opening and closing numbers, two very contrasting pieces indeed, all in in all we have a very satisfyng and rewarding set. This is an album that I had not previously been familiar with, but one that I look forward to spending more time with.
ECM 674 3069
Bobo Stenson (piano); Anders Jormin (double bass); Jon Chrsitensn (drums)
Recorded May 1997
At the time that this album was recorded Stenson was going through a bit of a purple patch, and this must rank as one of his best recordings. It catches this particular line up during a period when everything seemed to be coming together musically for the pianist, and collectively. The trio play with a remarkable empathy and cohesiveness that effortlessly translates to the music being played.
With such a strong group identity being forged, this in turn leads t the conclusion that as leader, Stenson has not felt the need to impose his own will on the group by composing the lions share of the material, but instead he draws compositions from a variety of diverse sources ranging from Ellington to the Cuban musician, Silvio Rodríguez, two by Ornette Coleman,as well as three pieces penned by bassist, Anders Jormin.
The trio tackle the material as one entity, such is the almost telepathic understanding between them. Pianist and bassist dovetail perfectly each sharing rhythmic and melodic roles seamlessly. Christensen is the perfect drummer for this setting, and musicality and often understated playing is a joy throughout. Inevitably, the two pieces by Ornette, 'All My Life' and 'War Orphans' sound a little freer in concept and delivery an approach that sits in surprisingly well with the other pieces in the set, with this looseness providing a release from the more tightly structured numbers.
Anders Jormin's 'Eleventh Of January' is wonderfully contained and melodic and epitomizes the delicate side of the trio, as does 'Natt', with the long solo introduction from the bassist that is utterly captivating, before piano and drums join in . At the opposite end of the spectrum, Stenson's sole compositional credit, 'Bengali Blue' drives the trio into altogether different territory.
With Silvio Rodríguez's beautiful 'Oleo de mujer con sombrero' and Duke's 'Melancholia' as opening and closing numbers, two very contrasting pieces indeed, all in in all we have a very satisfyng and rewarding set. This is an album that I had not previously been familiar with, but one that I look forward to spending more time with.
JOHN SURMAN / JOHN WARREN - The Brass Project
ECM 674 3491
John Surman (soprano & baritone saxophone, alto & bass clarinets, piano); Henry Lowther, Stephen Waterman, Stuart Brooks (trumpets); Malcolm Griffiths, Chris Pyne (trombone); David Stewart, Richard Edwards (bass trombone); Chris Laurence (bass); John Marshall (drums); John Warren (conductor)
Recorded April 1992
John Surman and John Warren first collaborated on the now long deleted Tales Of The Alonquin some twenty years previously, a marvellous record that by right should never be out of print so it is therefore gratifying that at least this further effort should now once again be available. Once again, there is some real magic in the writing an arranging for The Brass Project that is often lacking in many such ventures.
John Warren's writing for the ensemble is suited perfectly to Surman's own concept, and Warren not only seems to have an incredible grasp of how to write for the saxophonist but also how to create in which Surman is able to be an integral part of the ensemble sound, but also given enough room within the arrangement to solo freely and creatively.
The opening piece, a Surman composition 'The Return Of The Exile', is superbly constructed with a magnificent opening statement from the brass before Surman's bass clarinet enters and begins an exhilarating dialogue with trombonist, Malcolm Griffiths, and climaxing with a soprano saxophone solo of real invention. Warren's ''The New One Two, Part 1' swings joyously, putting many a big band to shame, with some wonderful voicings for the trumpets and soprano sax, while his 'Spacial Motive' moves eerily between brass and bass clarinet motifs that evoke an altogether vibe.
Surman is heard on piano on an absorbing 'Silent Lake', with some sympathetic accompaniment from bassist, Chris Laurence, before Henry Lowther takes centre stage playing the beautiful melody on open trumpet and leading the composition in the direction that had been hinted at from the gentle piano introduction. Bass clarinet takes over from the trumpet, and is joined by the brass in a tremendous yet gentle climax to an exquisite piece of music.
The weight of the mighty barritone sax is heard on 'Melltock Quire', and while Surman is the main soloist, it is the quality of the writing, arranging and ensemble sound that make this and the rest of the album such a joy.
ECM 674 3491
John Surman (soprano & baritone saxophone, alto & bass clarinets, piano); Henry Lowther, Stephen Waterman, Stuart Brooks (trumpets); Malcolm Griffiths, Chris Pyne (trombone); David Stewart, Richard Edwards (bass trombone); Chris Laurence (bass); John Marshall (drums); John Warren (conductor)
Recorded April 1992
John Surman and John Warren first collaborated on the now long deleted Tales Of The Alonquin some twenty years previously, a marvellous record that by right should never be out of print so it is therefore gratifying that at least this further effort should now once again be available. Once again, there is some real magic in the writing an arranging for The Brass Project that is often lacking in many such ventures.
John Warren's writing for the ensemble is suited perfectly to Surman's own concept, and Warren not only seems to have an incredible grasp of how to write for the saxophonist but also how to create in which Surman is able to be an integral part of the ensemble sound, but also given enough room within the arrangement to solo freely and creatively.
The opening piece, a Surman composition 'The Return Of The Exile', is superbly constructed with a magnificent opening statement from the brass before Surman's bass clarinet enters and begins an exhilarating dialogue with trombonist, Malcolm Griffiths, and climaxing with a soprano saxophone solo of real invention. Warren's ''The New One Two, Part 1' swings joyously, putting many a big band to shame, with some wonderful voicings for the trumpets and soprano sax, while his 'Spacial Motive' moves eerily between brass and bass clarinet motifs that evoke an altogether vibe.
Surman is heard on piano on an absorbing 'Silent Lake', with some sympathetic accompaniment from bassist, Chris Laurence, before Henry Lowther takes centre stage playing the beautiful melody on open trumpet and leading the composition in the direction that had been hinted at from the gentle piano introduction. Bass clarinet takes over from the trumpet, and is joined by the brass in a tremendous yet gentle climax to an exquisite piece of music.
The weight of the mighty barritone sax is heard on 'Melltock Quire', and while Surman is the main soloist, it is the quality of the writing, arranging and ensemble sound that make this and the rest of the album such a joy.
DAVID TORN - Cloud About Mercury
ECM 675 2813
David Torn (electric & acoustic guitars); Mark Isham (trumpet, piccolo trumpet, flugelhorn, synthesizer); Tony Levin Chapman Stick, synthesizer bass); Bill Bruford (Simmons drums, synthesizer drums, percussion)
Recorded March 1986
This is a most unusual album item in ECM's catalogue. Not quite a group record, but not dominated by the leader either, and how the music might be categorized is also open to debate. Definitely a fusion album but fusing or juxtaposing what remains unclear, and the music retains a lack if focus throughout that further middies the waters.
Elements of rock and ambient music are prevalent, as are the deeply funky bass grooves laid down by Tony Levin that add weight to Torn's opening statement on 'Network of Sparks b) egg learns to walk', and providing the rhythmic backbone of '3 Minutes Of Pure Entertainment, but overall the album is too diffuse to provide a continuous and coherent set from start to finish.
There are many fine moments from all concerned, with brass man Mark Isham, in particular standing out. Leader, Torn also gets in some nice ideas but somehow loses loses focus and direction part way through, as if distracted and unable to finish what he started.
Drummer, Bill Bruford, is also poorly served and for the most part confined to the Simmons and synthsized drumss which sound lack lustre when compared to the work he was presenting on these instruments with his own group, Earthworks at this time. A similar fate also falls on the over use of synthesizers which have not stood the test of time well, and now sound dated, at times being used to fill spaces in the music that should have been left silent.
An album that is not without its moments, mainly from Mark Isham, but one that has fallen foul on a reliance of electronics for its impact as opposed to a solid group sound that allows the musicians to get their collective teeth into the material.
ECM 675 2813
David Torn (electric & acoustic guitars); Mark Isham (trumpet, piccolo trumpet, flugelhorn, synthesizer); Tony Levin Chapman Stick, synthesizer bass); Bill Bruford (Simmons drums, synthesizer drums, percussion)
Recorded March 1986
This is a most unusual album item in ECM's catalogue. Not quite a group record, but not dominated by the leader either, and how the music might be categorized is also open to debate. Definitely a fusion album but fusing or juxtaposing what remains unclear, and the music retains a lack if focus throughout that further middies the waters.
Elements of rock and ambient music are prevalent, as are the deeply funky bass grooves laid down by Tony Levin that add weight to Torn's opening statement on 'Network of Sparks b) egg learns to walk', and providing the rhythmic backbone of '3 Minutes Of Pure Entertainment, but overall the album is too diffuse to provide a continuous and coherent set from start to finish.
There are many fine moments from all concerned, with brass man Mark Isham, in particular standing out. Leader, Torn also gets in some nice ideas but somehow loses loses focus and direction part way through, as if distracted and unable to finish what he started.
Drummer, Bill Bruford, is also poorly served and for the most part confined to the Simmons and synthsized drumss which sound lack lustre when compared to the work he was presenting on these instruments with his own group, Earthworks at this time. A similar fate also falls on the over use of synthesizers which have not stood the test of time well, and now sound dated, at times being used to fill spaces in the music that should have been left silent.
An album that is not without its moments, mainly from Mark Isham, but one that has fallen foul on a reliance of electronics for its impact as opposed to a solid group sound that allows the musicians to get their collective teeth into the material.
MIROSLAV VITOUS / JAN GARBAREK - Atmos
ECM 674 3464
Mirolslav Vitous (double bass); Jan Garbarek (soprano & tenor saxophones)
Recorded February 1992
Despite the fact that equal billing is given to both musicians this is very much the bassists album. He takes composer credits for seven of the pieces here, and it is the role of the double bass that provides much of the interest.
As with the trio album Star that featured Vitous and Garbarek with drummer, Peter Erskine, the music is often a solemn and rather stark affair with Garbarek's soprano saxophone providing a commentary to the rhythmic and melodic lines provided by the bassist. The liner notes advise that there are no bass overdubs, and that the percussive effects on the body of the bass are played in real time, and again it is this contribution from Vitous that adds an extra dimension to the sound which would otherwise be rather dry and sterile.This dominance by Vitous is again heard on the tracks 'Forthcoming' and 'Direvision' which are vehicles for solo bass, and provide some welcome relief from the keening soprano.
The above should not imply that Garbarek plays badly, but is more a reflection of the material and choice of instrumentation. On the jointly credited 'Time Out - Parts I & II', where the saxophonist switches from the soprano to his tenor that his playing becomes more animated, accompanied by the double bass along with dubbed orchestral sounds from the 'Miroslav Vitous Symphony Orchestra Sound Library'. These two pieces are more freely played out, and all the better for it. This return to the larger horn also reaps rewards on the closing 'Hippukrene' that along with 'Time Out', produces the most satisfying music on the album.
ECM 674 3464
Mirolslav Vitous (double bass); Jan Garbarek (soprano & tenor saxophones)
Recorded February 1992
Despite the fact that equal billing is given to both musicians this is very much the bassists album. He takes composer credits for seven of the pieces here, and it is the role of the double bass that provides much of the interest.
As with the trio album Star that featured Vitous and Garbarek with drummer, Peter Erskine, the music is often a solemn and rather stark affair with Garbarek's soprano saxophone providing a commentary to the rhythmic and melodic lines provided by the bassist. The liner notes advise that there are no bass overdubs, and that the percussive effects on the body of the bass are played in real time, and again it is this contribution from Vitous that adds an extra dimension to the sound which would otherwise be rather dry and sterile.This dominance by Vitous is again heard on the tracks 'Forthcoming' and 'Direvision' which are vehicles for solo bass, and provide some welcome relief from the keening soprano.
The above should not imply that Garbarek plays badly, but is more a reflection of the material and choice of instrumentation. On the jointly credited 'Time Out - Parts I & II', where the saxophonist switches from the soprano to his tenor that his playing becomes more animated, accompanied by the double bass along with dubbed orchestral sounds from the 'Miroslav Vitous Symphony Orchestra Sound Library'. These two pieces are more freely played out, and all the better for it. This return to the larger horn also reaps rewards on the closing 'Hippukrene' that along with 'Time Out', produces the most satisfying music on the album.
Part 2 of this article will be published in April, click on the album covers
to order any of the titles in this feature.
to order any of the titles in this feature.
