TOUCHSTONES - Celebrating 50 Years Of ECM (Part Two)
This is the second part in the series looking at the series of reissues celebrating the fiftieth anniversary of ECM Records, and completes our appraisal of the first twenty five albums out of the fifty titles ear marked for release.
With so many albums now in the catalogue there are inevitably some releases that are less essential than others, and this is also the case with this reissue series.
If we have been somewhat harsh on some of these reissues, we will endeavour to select what we feel to be the must have albums at the end of the series.
With so many albums now in the catalogue there are inevitably some releases that are less essential than others, and this is also the case with this reissue series.
If we have been somewhat harsh on some of these reissues, we will endeavour to select what we feel to be the must have albums at the end of the series.
JOHN ABERCROMBIE - Night
ECM 674 3143
John Abercrombie (guitar); Jan Hammer (keyboards); Jack DeJohnette (drums);
Mike Brecker (tenor saxophone)
Recorded April 1984
They say never judge a book by its cover, and the same surely applies for albums as I wasn't expecting to enjoy this recording as much as I did. Recorded thirty five years ago the technology used by Jan Hammer is very much of its time, as are the methods and sounds deployed by the keyboardist, but by and large the clichés are swept under the sonic carpet and we are presented with an enjoyable set that bears the test of time remarkably well.
The opening title, 'Ethereggae' by Jan Hammer, gets the album off to a fun start, but the real meat and drink is in the remaining pieces that are all written by Abercrombie. Nothing is as quietly intense as his work of the nineties onwards, but it is possible to hear in both the compositions and playing the direction in which the guitarist was steering his music. The following, and title track, is a fine ballad, of which Abercrombie would write many, and serves to ground the remainder of the set.
'3 East' ups the ante with Abercrombie playing with an incisive yet nicely paced slow burn throughout his solo, which is a nice counter balance to the hard core line taken by Michael Brecker. 'Believe You Me' works off a nice keyboards/drum motif, tightly nailed down by DeJohnette for the tenor saxophone and guitar to lay down the melody. The guitarist again takes the first solo in a relaxed and unhurried manner before Brecker comes steaming in brimful of ideas.
The closing 'Four On One' is taken at quite a clip, with Hammer stumbling through his solo, not really deciding which way to go with it. The same cannot be said for the leader who spars superbly with the drummer in a brief but pithy exchange. We are also treated to Brecker's best solo of the date; hard edged, concise and without any excessive displays of technique.
All in all a fine set that is at its best when Abercrombie takes centre stage.
ECM 674 3143
John Abercrombie (guitar); Jan Hammer (keyboards); Jack DeJohnette (drums);
Mike Brecker (tenor saxophone)
Recorded April 1984
They say never judge a book by its cover, and the same surely applies for albums as I wasn't expecting to enjoy this recording as much as I did. Recorded thirty five years ago the technology used by Jan Hammer is very much of its time, as are the methods and sounds deployed by the keyboardist, but by and large the clichés are swept under the sonic carpet and we are presented with an enjoyable set that bears the test of time remarkably well.
The opening title, 'Ethereggae' by Jan Hammer, gets the album off to a fun start, but the real meat and drink is in the remaining pieces that are all written by Abercrombie. Nothing is as quietly intense as his work of the nineties onwards, but it is possible to hear in both the compositions and playing the direction in which the guitarist was steering his music. The following, and title track, is a fine ballad, of which Abercrombie would write many, and serves to ground the remainder of the set.
'3 East' ups the ante with Abercrombie playing with an incisive yet nicely paced slow burn throughout his solo, which is a nice counter balance to the hard core line taken by Michael Brecker. 'Believe You Me' works off a nice keyboards/drum motif, tightly nailed down by DeJohnette for the tenor saxophone and guitar to lay down the melody. The guitarist again takes the first solo in a relaxed and unhurried manner before Brecker comes steaming in brimful of ideas.
The closing 'Four On One' is taken at quite a clip, with Hammer stumbling through his solo, not really deciding which way to go with it. The same cannot be said for the leader who spars superbly with the drummer in a brief but pithy exchange. We are also treated to Brecker's best solo of the date; hard edged, concise and without any excessive displays of technique.
All in all a fine set that is at its best when Abercrombie takes centre stage.
PAUL BLEY - Ballads
ECM 674 3478
Paul Bley (piano); Gary Peacock or Mark Levinson (double bass); Barry Altschul (drums)
Recorded March & July, 1967
Recorded over a couple of sessions in March and July 1967, but not released until 1971, this is not just a historic document for both ECM and in the career of Paul Bley but an invaluable set that captures a specific moment in time. Listening to this absorbing album again, so utterly contemporary does it sound, that it barely seems possible that this was recorded half a century ago and is also one of the first recordings to explore the free ballads of Annette Peacock.
So completely realised are the performances that it is difficult to comprehend that the musicians themselves were finding their way into the music, and discovering new means of expression. The album also seemingly splits itself into two distinctly different working methods, and it would be of interest to know what tracks were recorded in which of the two sessions, as the single long track recorded with Gary peacock on bass is very different to the trio with Mark Levinson. If anything the two peices featuring Levinson offer an easier way into the music for the listener.
The brief, at just under three minutes, 'Circles' is rooted to the melody and harmony, and also works within a predetermined and fixed meter. This is followed by 'So Hard it Hurts' whcih for some listeners may well be the case. The melody becomes more fragmented and the rhythms more creatively disturbed, and the composition is explored and reassembled over the course of the performance.
Thye most impressive piece, however, is the the opening 'Ending' that would have occupied all of the first side of the original LP. With Gary Peacock on bass duties the music is is even more fractured and abstract. There is, again, always present the sense of continuous melodic development and awareness of the composition, but played in an open rhythmic manner that is rarely allowed to settle.
The playing throughput is exceptional and the ballad feel and tempo is retained, and this gives a delicious sense of restraint that all clearly relish. Bleys touch at the piano is crystalline coaxing Annette Peacock;s melodies into life. Peacock is magisterial on 'Ending' and Altschul also excels on this long outstanding track. A fine release that stands tall within the pianist's extensive discography.
ECM 674 3478
Paul Bley (piano); Gary Peacock or Mark Levinson (double bass); Barry Altschul (drums)
Recorded March & July, 1967
Recorded over a couple of sessions in March and July 1967, but not released until 1971, this is not just a historic document for both ECM and in the career of Paul Bley but an invaluable set that captures a specific moment in time. Listening to this absorbing album again, so utterly contemporary does it sound, that it barely seems possible that this was recorded half a century ago and is also one of the first recordings to explore the free ballads of Annette Peacock.
So completely realised are the performances that it is difficult to comprehend that the musicians themselves were finding their way into the music, and discovering new means of expression. The album also seemingly splits itself into two distinctly different working methods, and it would be of interest to know what tracks were recorded in which of the two sessions, as the single long track recorded with Gary peacock on bass is very different to the trio with Mark Levinson. If anything the two peices featuring Levinson offer an easier way into the music for the listener.
The brief, at just under three minutes, 'Circles' is rooted to the melody and harmony, and also works within a predetermined and fixed meter. This is followed by 'So Hard it Hurts' whcih for some listeners may well be the case. The melody becomes more fragmented and the rhythms more creatively disturbed, and the composition is explored and reassembled over the course of the performance.
Thye most impressive piece, however, is the the opening 'Ending' that would have occupied all of the first side of the original LP. With Gary Peacock on bass duties the music is is even more fractured and abstract. There is, again, always present the sense of continuous melodic development and awareness of the composition, but played in an open rhythmic manner that is rarely allowed to settle.
The playing throughput is exceptional and the ballad feel and tempo is retained, and this gives a delicious sense of restraint that all clearly relish. Bleys touch at the piano is crystalline coaxing Annette Peacock;s melodies into life. Peacock is magisterial on 'Ending' and Altschul also excels on this long outstanding track. A fine release that stands tall within the pianist's extensive discography.
JAN GARBAREK / KJELL JOHNSEN - Aftenland
ECM 674 7042
Jan Garbarek (tenor & soprano saxophone, wood flute); Kjell Johnsen (pipe organ)
Recorded December 1979
If looking to dispel the notion of the Nordic chill present in the ECM sound, or the reputation of Jan Garbarek as the wielder of the ice horn, then this is certainly not the album to disprove the theory. By this stage in his career, the saxophonist was beginning not only to carve out a niche for himself in the jazz incorporating music from his native land with Afro-American style improvising, and in doing so bringing his music to its first fruition.
With the success of Keith Jarrett's European Quartet, or the Belonging band as it became known, and the critical acclaim heaped upon his recordings with another pianist, Swede Bob Stenson, Garbarek was finding a place and means of expression for both his highly personal tenor playing and keening soprano saxophone sound. Garbarek has gone on record as saying that once established that "you cannot change your sound, only the context in which you out it in". To this end the saxophonist has often looked to keep things fresh by experimenting with different instrumentation and musicians within his work. This is perhaps crucial to much of the success of many of his best recordings, the musicians he has around him. I say 'musicians' in the plural, as a cursory glance at Garnarek's discography perhaps illustrates that his weakest albums a have been disappointing solo album All Those Born With Wings, the duo recording with Miroslave Vitous, Atmos, reviewed in part 1, and this recording too.
By its very nature the pipe organ is not going to be the most agile or tonally flexible of instruments, and 'Spill' quite simply sounds like something out of a Disney cartoon. Coupled with the soprano saxophone on the opening title track and 'Iskirken' the sound is often very harsh and unforgiving. Much better are the pieces where Garbarek picks up the larger horn, which introduces a step away from the purely textural to a more lyrical context on 'Linje' and a more dramatic and full bodied sound on 'Enigma' and 'Kilden'.
An interesting experiment perhaps, and one that was not to be repeated. One for the die hard Garbarek followers, but there are far better albums by the saxophonist in his prolific discography for the label.
ECM 674 7042
Jan Garbarek (tenor & soprano saxophone, wood flute); Kjell Johnsen (pipe organ)
Recorded December 1979
If looking to dispel the notion of the Nordic chill present in the ECM sound, or the reputation of Jan Garbarek as the wielder of the ice horn, then this is certainly not the album to disprove the theory. By this stage in his career, the saxophonist was beginning not only to carve out a niche for himself in the jazz incorporating music from his native land with Afro-American style improvising, and in doing so bringing his music to its first fruition.
With the success of Keith Jarrett's European Quartet, or the Belonging band as it became known, and the critical acclaim heaped upon his recordings with another pianist, Swede Bob Stenson, Garbarek was finding a place and means of expression for both his highly personal tenor playing and keening soprano saxophone sound. Garbarek has gone on record as saying that once established that "you cannot change your sound, only the context in which you out it in". To this end the saxophonist has often looked to keep things fresh by experimenting with different instrumentation and musicians within his work. This is perhaps crucial to much of the success of many of his best recordings, the musicians he has around him. I say 'musicians' in the plural, as a cursory glance at Garnarek's discography perhaps illustrates that his weakest albums a have been disappointing solo album All Those Born With Wings, the duo recording with Miroslave Vitous, Atmos, reviewed in part 1, and this recording too.
By its very nature the pipe organ is not going to be the most agile or tonally flexible of instruments, and 'Spill' quite simply sounds like something out of a Disney cartoon. Coupled with the soprano saxophone on the opening title track and 'Iskirken' the sound is often very harsh and unforgiving. Much better are the pieces where Garbarek picks up the larger horn, which introduces a step away from the purely textural to a more lyrical context on 'Linje' and a more dramatic and full bodied sound on 'Enigma' and 'Kilden'.
An interesting experiment perhaps, and one that was not to be repeated. One for the die hard Garbarek followers, but there are far better albums by the saxophonist in his prolific discography for the label.
MICK GOODRICK - In Pa(s)sing
ECM 674 3461
Mick Goodrick (guitar); John Surman (soprano & baritone saxophones, bass clarinet);Eddie Gomez (double bass); Jack DeJohnette (drums)
Recorded November 1978
This appears to be guitarist Mick Goodrick's only recording as eader for ECM, and what a good one it is too! Spending most of his time teaching in Boston, he has recorded sparingly although when he does he certainly picks his projects well, playing on recordings by Steve Swallow, Gary Burton, and on Charlie Haden and Carla Bley's The Ballad Of The Fallen. For his his own project, In Pa(s)sing too he has chosen his colleagues well, able to draw on a star studded cast, and in writing most of the material himself (only the closing track 'In Passing' is credited to all four musicians), has given the quartet some solid material to get stuck into collectively.
Unusually the the album opens with two ballads, two lovely tunes with the first 'Feebles, Fables And Ferns'featuring John Surman's sumptuous baritone playing, followed by 'In The Tavern Of Ruin' with the saxophonist switching to soprano. On both these pieces the leader keeps his contribution to providing to some quiet yet incisive accompanimet, only stepping out to solo on 'Summer Band Camp'. The cheery and upbeat disposition of the composition elicits a fluid and erudite solo from Goodrick with a similar response from Surman, again on soprano.
Surman bringsut the bass clarinet for 'Pedelpusher' that no only has some superb playing by the Englishman but a sparse and more open harmonic approach from Goodrick before morphing into his own fleet fingered solos that is throroughly of its time yet also reminiscent of the jazz guitar greats. This open harmonic route is also deployed on the closing 'In Passing', with its fragmentary commentary from guitar and lyrical soprano from Surman. The piece gradually gains momentum with bass and drums pushing and securing the the emerging rhythmic groove. Around this Goodrick tentatively fills in some of the spaces with the saxophonist spinning and ever more complex and intricate melodic line.
With ECM's vast catalogue over the last fifty years it would be all too easy to let this lone album of Mick Goodrick to slip under the radar, but do make sure it doesn't slip under yours.
ECM 674 3461
Mick Goodrick (guitar); John Surman (soprano & baritone saxophones, bass clarinet);Eddie Gomez (double bass); Jack DeJohnette (drums)
Recorded November 1978
This appears to be guitarist Mick Goodrick's only recording as eader for ECM, and what a good one it is too! Spending most of his time teaching in Boston, he has recorded sparingly although when he does he certainly picks his projects well, playing on recordings by Steve Swallow, Gary Burton, and on Charlie Haden and Carla Bley's The Ballad Of The Fallen. For his his own project, In Pa(s)sing too he has chosen his colleagues well, able to draw on a star studded cast, and in writing most of the material himself (only the closing track 'In Passing' is credited to all four musicians), has given the quartet some solid material to get stuck into collectively.
Unusually the the album opens with two ballads, two lovely tunes with the first 'Feebles, Fables And Ferns'featuring John Surman's sumptuous baritone playing, followed by 'In The Tavern Of Ruin' with the saxophonist switching to soprano. On both these pieces the leader keeps his contribution to providing to some quiet yet incisive accompanimet, only stepping out to solo on 'Summer Band Camp'. The cheery and upbeat disposition of the composition elicits a fluid and erudite solo from Goodrick with a similar response from Surman, again on soprano.
Surman bringsut the bass clarinet for 'Pedelpusher' that no only has some superb playing by the Englishman but a sparse and more open harmonic approach from Goodrick before morphing into his own fleet fingered solos that is throroughly of its time yet also reminiscent of the jazz guitar greats. This open harmonic route is also deployed on the closing 'In Passing', with its fragmentary commentary from guitar and lyrical soprano from Surman. The piece gradually gains momentum with bass and drums pushing and securing the the emerging rhythmic groove. Around this Goodrick tentatively fills in some of the spaces with the saxophonist spinning and ever more complex and intricate melodic line.
With ECM's vast catalogue over the last fifty years it would be all too easy to let this lone album of Mick Goodrick to slip under the radar, but do make sure it doesn't slip under yours.
KEITH JARRETT - Standards, Vol. 1
ECM 674 3202
Keith Jarrett (piano); Gary Peacock (double bass); Jack DeJohnette (drums)
Recorded January 1983
This is the first in a series of albums that quickly be known as the Standards Trio. There is little doubt that this trio was the successor to the classic Bill Evans Trio with Scott LaFaro and Paul Motian some twenty years earlier. No other piano trio had come close to capturing the brilliance of Evan's trio, and so it was with no little astonishment that this recording was initially received.
Looking back over the Standards Trio's history, that spanned more than three decades, there would be many changes within the music, even encompassing a period of time when the group would explore freely improvised music in their concert performances. But it is for their treatment of the standard repertoire that will secure their place in the history books as one of the finest ever piano trios.
As Bill Evans and Miles had done , Jarrett would compile an extensive band book that would comprise of some staple pieces that would be revisited countless times in performance, and appear on numerous albums over time. The longevity of the group and the high calibre of the playing meant that each newly issued recording of a particular tune would offer the listener the chance to hear how the trio had moved on with the music, always finding new things to say.
The five compositions heard on this first recording by the group provide a remarkable varied programme beginning with an absorbing 'Meaning Of The Blues that delves deeply into this familiar tune. Ken and Hammerstein's 'Al The Things You Are' is a perennial favourite and inevitable choice that would have to be tackled sooner or later, and Jack DeJohnette drives this relentlessly pushing Jarrett all the way. 'It Never Entered My Mind' has long been one of my favourite tunes by the Rodgers and Hart writing partnership and this version does not disappoint. Jarrett's touch at the piano is just so expressive at this tempo having you hang on to every note. The concluding 'God Bless The Child' is a tour de orce that finds bass and drums locked in tight with Jarrett's piano also held within a rigid framework, and this constraint provides a delicious antidote to the free flowing improvisations heard on the proceeding tracks.
The contribution of Peacock and DeJohnette cannot be underestimated, and it can only be marvelled at how three individuals can establish such a strong musical rapport. A remarkable first chapter in what was thankfully a well documented story over the lifetime of the trio.
ECM 674 3202
Keith Jarrett (piano); Gary Peacock (double bass); Jack DeJohnette (drums)
Recorded January 1983
This is the first in a series of albums that quickly be known as the Standards Trio. There is little doubt that this trio was the successor to the classic Bill Evans Trio with Scott LaFaro and Paul Motian some twenty years earlier. No other piano trio had come close to capturing the brilliance of Evan's trio, and so it was with no little astonishment that this recording was initially received.
Looking back over the Standards Trio's history, that spanned more than three decades, there would be many changes within the music, even encompassing a period of time when the group would explore freely improvised music in their concert performances. But it is for their treatment of the standard repertoire that will secure their place in the history books as one of the finest ever piano trios.
As Bill Evans and Miles had done , Jarrett would compile an extensive band book that would comprise of some staple pieces that would be revisited countless times in performance, and appear on numerous albums over time. The longevity of the group and the high calibre of the playing meant that each newly issued recording of a particular tune would offer the listener the chance to hear how the trio had moved on with the music, always finding new things to say.
The five compositions heard on this first recording by the group provide a remarkable varied programme beginning with an absorbing 'Meaning Of The Blues that delves deeply into this familiar tune. Ken and Hammerstein's 'Al The Things You Are' is a perennial favourite and inevitable choice that would have to be tackled sooner or later, and Jack DeJohnette drives this relentlessly pushing Jarrett all the way. 'It Never Entered My Mind' has long been one of my favourite tunes by the Rodgers and Hart writing partnership and this version does not disappoint. Jarrett's touch at the piano is just so expressive at this tempo having you hang on to every note. The concluding 'God Bless The Child' is a tour de orce that finds bass and drums locked in tight with Jarrett's piano also held within a rigid framework, and this constraint provides a delicious antidote to the free flowing improvisations heard on the proceeding tracks.
The contribution of Peacock and DeJohnette cannot be underestimated, and it can only be marvelled at how three individuals can establish such a strong musical rapport. A remarkable first chapter in what was thankfully a well documented story over the lifetime of the trio.
STEPHAN MICUS - To The Evening Child
ECM 674 3484
Stephan Micus (steel drum, voice, dilruba, suling, kortholt, nay, sinding)
Recorded January/February 1982
Stephan Micus occupies a strange place in the ECM catalogue. Not jazz by any stretch of the imagination and not falling into the classical New Series imprint either. Classification is made all the more difficult as Micus doesn't really fall into a world music either as he makes music that is uniquely his own take on a global soundscape utilising traditional and ethnic instruments from around the world. However, I always feel that he approaches them from a Western perspective in the way he writes his melodies for them or the manner in which steel drum and sinding or the dilruba too produce rhythmic patterns that are more prevalent in the West.
A prime example is 'Part 4: To The Evening Child' with the multi tracked steel drums, bass line and the melody line played on the nay (an ancient Egyptian hollow reed flute). 'Part 6: Equinox' is an intriguing blend of textures with 8 layered lines played by Micus on the dilruba, an Indian bowed instrument with 4 metal and 24 sympathetic strings and fretted like a sitar, along with nay and kortholt (which is also a reed instrument).
All the music and voices are composed and performed by Micus, and while there are informative notes about the instruments played there is no information about the language in which he sings, or about the songs that themselves. I have found in many of Micus' recordings much t enjoy, he has a good ear for melody and often there will be some fascinating orchestration and lyrically attractive pieces but this offering, for whatever reason, is rather dour.
ECM 674 3484
Stephan Micus (steel drum, voice, dilruba, suling, kortholt, nay, sinding)
Recorded January/February 1982
Stephan Micus occupies a strange place in the ECM catalogue. Not jazz by any stretch of the imagination and not falling into the classical New Series imprint either. Classification is made all the more difficult as Micus doesn't really fall into a world music either as he makes music that is uniquely his own take on a global soundscape utilising traditional and ethnic instruments from around the world. However, I always feel that he approaches them from a Western perspective in the way he writes his melodies for them or the manner in which steel drum and sinding or the dilruba too produce rhythmic patterns that are more prevalent in the West.
A prime example is 'Part 4: To The Evening Child' with the multi tracked steel drums, bass line and the melody line played on the nay (an ancient Egyptian hollow reed flute). 'Part 6: Equinox' is an intriguing blend of textures with 8 layered lines played by Micus on the dilruba, an Indian bowed instrument with 4 metal and 24 sympathetic strings and fretted like a sitar, along with nay and kortholt (which is also a reed instrument).
All the music and voices are composed and performed by Micus, and while there are informative notes about the instruments played there is no information about the language in which he sings, or about the songs that themselves. I have found in many of Micus' recordings much t enjoy, he has a good ear for melody and often there will be some fascinating orchestration and lyrically attractive pieces but this offering, for whatever reason, is rather dour.
MIKE NOCK - Ondas
ECM 674 3462
Mike Nock (piano); Eddie Gomez (bass); Jon Christensen (drums)
Recorded November 1981
Another musician who has made just one album for ECM is New Zealand born pianist, Mike Nock. A talented composer encompassing jazz, classical music and electronica, Nock has shifted continents during his long career having spent twenty five years living and working in the United States and has been resident in Australia since 1986.
This stand alone album for the Munich based label is not so much in the American piano trio tradition but more of a distillation of what was happening in Europe. There is no straight ahead, four to the bar swing here, but more reflective and drawn out melodic trio music that borders on a chamber jazz, and that is both the attraction and shortcoming of the album.
'Forgotten Love' at sixteen minutes in duration is too long, and what started out as interesting melody over an ostinati ultimately runs out of steam. 'Visionary', however, is quite the opposite developing from the original melody with superb commentary from the ever resourceful Jon Christensen. Nock is at his best here with his touch at the piano expressive and full of emotion. This is also true of 'Land Of The Long White Cloud', a beautiful ballad with Eddie Gomez outstanding, his lovely tone to the fore, keeping time without ever being overtly explicit in doing so. This creates a floating feel with Christensen's light and free flowing drumming combined with Nock's best playing on the record is worth the price of admission alone.
By no means an essential album in the the ECM oeuvre, but nonetheless it would be a shame to miss it.
ECM 674 3462
Mike Nock (piano); Eddie Gomez (bass); Jon Christensen (drums)
Recorded November 1981
Another musician who has made just one album for ECM is New Zealand born pianist, Mike Nock. A talented composer encompassing jazz, classical music and electronica, Nock has shifted continents during his long career having spent twenty five years living and working in the United States and has been resident in Australia since 1986.
This stand alone album for the Munich based label is not so much in the American piano trio tradition but more of a distillation of what was happening in Europe. There is no straight ahead, four to the bar swing here, but more reflective and drawn out melodic trio music that borders on a chamber jazz, and that is both the attraction and shortcoming of the album.
'Forgotten Love' at sixteen minutes in duration is too long, and what started out as interesting melody over an ostinati ultimately runs out of steam. 'Visionary', however, is quite the opposite developing from the original melody with superb commentary from the ever resourceful Jon Christensen. Nock is at his best here with his touch at the piano expressive and full of emotion. This is also true of 'Land Of The Long White Cloud', a beautiful ballad with Eddie Gomez outstanding, his lovely tone to the fore, keeping time without ever being overtly explicit in doing so. This creates a floating feel with Christensen's light and free flowing drumming combined with Nock's best playing on the record is worth the price of admission alone.
By no means an essential album in the the ECM oeuvre, but nonetheless it would be a shame to miss it.
TERJE RYPDAL & THE CHASERS - Blue
ECM 674 3532
Terje Rypdal (electric guitar, keyboards); Bjorn Kjellemyr (electric & acoustic bass); Audun Kleive (drums, percussion)
Recorded November 1986
As if to cover all bases in their catalogue, Manfred Eicher and ECM have recorded albums that draw from rock music more than the jazz and contemporary classical music that the label is quite rightly acknowledged for. One such example such example of these forays can be found in some of the recordings of guitarist, Terje Rypdal. Indeed Rypdal performed as a rock artist in the sixties before crossing paths with George Russell and ECM mainstay Jan Garbarek. In these settings where the music is open to outside influences, Rypdal has developed an impressionistic style of playing using electronics that creates imagery through sounds, the music seemingly able to paint pictures in one's mind.
This method of working can create wonderfully mystifying yet satisfying, or by turns, utterly boring music and this particular set falls between these two stools. Of the latter catagory, 'Og Hva Synes Vi Om Det' creates textures that drift aimlessly leading nowhere. Paradoxically, 'I Disremember Quite Well'uses similar compositional techniques, but with its stronger melodic content and use of both pizzicato and arco playing on double bass and Rypdal's soft toned guitar lines produce a more complete performance. This is similarly true of 'Last Nite' with the emphasis on a heavier beat over which keyboards and guitar float; and 'Blue' is a shamelessly romantic ballad that again brings out the best in the guitarist, and effectively ensures that the most engaging music is found in the middle of the album.
Atogether it makes for a rather disparate set that shows the strongest music comes when the guitarist takes a firmer and more formal grasp of the compositions.
ECM 674 3532
Terje Rypdal (electric guitar, keyboards); Bjorn Kjellemyr (electric & acoustic bass); Audun Kleive (drums, percussion)
Recorded November 1986
As if to cover all bases in their catalogue, Manfred Eicher and ECM have recorded albums that draw from rock music more than the jazz and contemporary classical music that the label is quite rightly acknowledged for. One such example such example of these forays can be found in some of the recordings of guitarist, Terje Rypdal. Indeed Rypdal performed as a rock artist in the sixties before crossing paths with George Russell and ECM mainstay Jan Garbarek. In these settings where the music is open to outside influences, Rypdal has developed an impressionistic style of playing using electronics that creates imagery through sounds, the music seemingly able to paint pictures in one's mind.
This method of working can create wonderfully mystifying yet satisfying, or by turns, utterly boring music and this particular set falls between these two stools. Of the latter catagory, 'Og Hva Synes Vi Om Det' creates textures that drift aimlessly leading nowhere. Paradoxically, 'I Disremember Quite Well'uses similar compositional techniques, but with its stronger melodic content and use of both pizzicato and arco playing on double bass and Rypdal's soft toned guitar lines produce a more complete performance. This is similarly true of 'Last Nite' with the emphasis on a heavier beat over which keyboards and guitar float; and 'Blue' is a shamelessly romantic ballad that again brings out the best in the guitarist, and effectively ensures that the most engaging music is found in the middle of the album.
Atogether it makes for a rather disparate set that shows the strongest music comes when the guitarist takes a firmer and more formal grasp of the compositions.
LOUIS SCLAVIS QUINTET - Rouge
ECM 674 3234
Louis Sclavis (clarinets, soprano saxophone); Dominique Pifarély (violin); Bruno Chevillon (bass); François Raulin (piano, synthesizer); Christian Ville (drums)
Recorded September 1991
This is the ECM debut by French clarinettist and saxophonist, Louis Sclavis, and a remarkably confident and accomplished debut it is too. Sclavis has for a long time brought an eclectic mixture to his music from jazz to chamber music and traditional music from his native France, all held together by his original compositions, virtuosic playing on clarinet and bass clarinet and edge of your seat improvisations. It is fascinating to hear this album again, and one quickly realises just how developed his concept already was at this time.
Right from the outset, 'Go' has some startlingly imaginative interplay between Sclavis and violinist, Dominique Pifarély; and his writing for the quintet quintet as a unit is demonstrated on 'Nacht' with generous space given to the excellent bass playing of Bruno Chevillon. The bassist is also prominent on 'Les Bouteilles' in the introduction played as a duet with the leader's bass clarinet, before the piece is opened up by drummer Christian Ville and allowed to fly with François Raulin's fleet fingered synthesizer solo.
The long 'Face Nord' is packed with incident from Sclavis' opening statement on soprano saxophone, but it is the long solo from Pifarély that is at the centre of this piece, a thrilling solo of extended techniques on violin and unique lyricism.
A fascinating set that bears repeated listening, not so much as to get a better understanding of the music but just for the pure enjoyment tat the album gives.
ECM 674 3234
Louis Sclavis (clarinets, soprano saxophone); Dominique Pifarély (violin); Bruno Chevillon (bass); François Raulin (piano, synthesizer); Christian Ville (drums)
Recorded September 1991
This is the ECM debut by French clarinettist and saxophonist, Louis Sclavis, and a remarkably confident and accomplished debut it is too. Sclavis has for a long time brought an eclectic mixture to his music from jazz to chamber music and traditional music from his native France, all held together by his original compositions, virtuosic playing on clarinet and bass clarinet and edge of your seat improvisations. It is fascinating to hear this album again, and one quickly realises just how developed his concept already was at this time.
Right from the outset, 'Go' has some startlingly imaginative interplay between Sclavis and violinist, Dominique Pifarély; and his writing for the quintet quintet as a unit is demonstrated on 'Nacht' with generous space given to the excellent bass playing of Bruno Chevillon. The bassist is also prominent on 'Les Bouteilles' in the introduction played as a duet with the leader's bass clarinet, before the piece is opened up by drummer Christian Ville and allowed to fly with François Raulin's fleet fingered synthesizer solo.
The long 'Face Nord' is packed with incident from Sclavis' opening statement on soprano saxophone, but it is the long solo from Pifarély that is at the centre of this piece, a thrilling solo of extended techniques on violin and unique lyricism.
A fascinating set that bears repeated listening, not so much as to get a better understanding of the music but just for the pure enjoyment tat the album gives.
STEVE TIBBETTS - Northern Song
ECM 674 3489
Steve Tibbetts (6 & 12-string guitars, kalimbas, tape loops); Marc Anderson (congas, bongos, percussion)
Recorded October 1981
As with Stephan Micus' album, To The Evening Child, reviewed above, Steve Tibbetts does not seem an obvious choice as an ECM artist, and this his first recording album for the imprint does nothing to dispel that notion. The possibilities with guitars, tape loops and added percussion may seem to offer up many avenues of exploration but sadly do not materialise here. A fact that is borne out by the fact that until I was a a few minutes in to 'Aerial View' (the fourth track, and end of the first side of the original LP issue) that I found anything of real substance to hang on to.
The second side of the LP would have been taken up by 'Nine Doors/Breathing Space' at just under tweny two minutes meanders along, and although pleasant enough it seemingly leads to nowhere in particular. Throughout the album there is no build up of tension or need for release and at the end one does wonder where the time, or music, went. For the musicians the process of recording must have been interesting, but I'm afraid there is very little to engage the listener.
ECM 674 3489
Steve Tibbetts (6 & 12-string guitars, kalimbas, tape loops); Marc Anderson (congas, bongos, percussion)
Recorded October 1981
As with Stephan Micus' album, To The Evening Child, reviewed above, Steve Tibbetts does not seem an obvious choice as an ECM artist, and this his first recording album for the imprint does nothing to dispel that notion. The possibilities with guitars, tape loops and added percussion may seem to offer up many avenues of exploration but sadly do not materialise here. A fact that is borne out by the fact that until I was a a few minutes in to 'Aerial View' (the fourth track, and end of the first side of the original LP issue) that I found anything of real substance to hang on to.
The second side of the LP would have been taken up by 'Nine Doors/Breathing Space' at just under tweny two minutes meanders along, and although pleasant enough it seemingly leads to nowhere in particular. Throughout the album there is no build up of tension or need for release and at the end one does wonder where the time, or music, went. For the musicians the process of recording must have been interesting, but I'm afraid there is very little to engage the listener.
RALPH TOWNER / GARY BURTON - Match Book
ECM 674 3482
Ralph Towner (12-string & classical guitars); Gary Burton (vibraharp)
Recorded July 26 & 27, 1974
The duo format can produce music of great depth, beauty, and a sense of empathy and fragility that is perhaps not replicated in other other setting. This is certainly borne out in this delightfully lyrical and creative offering by Ralph Towner and Gary Burton.
Burton is no stranger to the duo having previously recorded the superb Crystal Silence with pianist, Chick Corea, and if this recording does not reach the same heights it does not fall far short. It is quite staggering to hear how Burton with his four mallet harmonic approach can operate so well with piano, or in this recording guitar, without getting in the way of another chordal instrument.
If the playing on Matchbook never quite reaches the incendiary heights implied by the album's title, Towner's 'Icarus does burn with a strong and tantalising intensity with soem dazzling interplay and exchanges. Elsewhere the music is a little more low key, comprising of wonderfully delicate melodies as on the opening 'Drifting Petals' and 'Song For A Friend', both penned by the guitarist.
As well as the originals there are two standards for good measure, with the two musicians taking a thoroughly lyrical approach to 'Some Other Time' with the melody taking pride of place, and this fine recording concludes with a considered and in depth reading of Mingus' classic 'Goodbye Pork Pie Hat'.
ECM 674 3482
Ralph Towner (12-string & classical guitars); Gary Burton (vibraharp)
Recorded July 26 & 27, 1974
The duo format can produce music of great depth, beauty, and a sense of empathy and fragility that is perhaps not replicated in other other setting. This is certainly borne out in this delightfully lyrical and creative offering by Ralph Towner and Gary Burton.
Burton is no stranger to the duo having previously recorded the superb Crystal Silence with pianist, Chick Corea, and if this recording does not reach the same heights it does not fall far short. It is quite staggering to hear how Burton with his four mallet harmonic approach can operate so well with piano, or in this recording guitar, without getting in the way of another chordal instrument.
If the playing on Matchbook never quite reaches the incendiary heights implied by the album's title, Towner's 'Icarus does burn with a strong and tantalising intensity with soem dazzling interplay and exchanges. Elsewhere the music is a little more low key, comprising of wonderfully delicate melodies as on the opening 'Drifting Petals' and 'Song For A Friend', both penned by the guitarist.
As well as the originals there are two standards for good measure, with the two musicians taking a thoroughly lyrical approach to 'Some Other Time' with the melody taking pride of place, and this fine recording concludes with a considered and in depth reading of Mingus' classic 'Goodbye Pork Pie Hat'.
EBERHARD WEBER - The Following Morning
ECM 674 3101
Rainer Brüninghaus (piano); Eberhard Weber (bass)
Celli, French Horns & Oboe:
Members Of The Philharmonic Orchestra, Oslo
Recorded August 1976
German bassist Eberhard Weber's career often appears a paradox and contradictory to his enormous talent. After inventing and mastering his unique triangular shaped five-string upright electric bass which he played with a beautiful tone tone that was again uniquely his own, his recording career is strangely chequered. Over the course of more than three decades recording for ECM it often seems that his best work has been on the albums of others, and his own records have been a little hit or miss, with this album falling into the latter category.
At this point in his career the bassist was producing some excellent work, including superb records under his own name, The Colours Of Chloe (1973), Yellow Fields (1975) and Little Movements (1980) with his group Colours featuring saxophonist Charlie Mariano and regular collaborator Rainer Brüninghaus on piano. It is therefore odd that in between the aforementioned albums that Weber should record this rather faceless and lacklustre affair.
All the hallmarks are present with the bassist's impeccable sound and Brüninghaus' lyrical piano, but it all seems a little lost in the context. The melodies are often fleeting and unsubstantial, the playing of both bass and piano to sparse and the orchestration inconsequential. The album does have its moments, but these were sadly not seized by the two musicians and developed in any way.
The net result is a rather dreary affair, and the opening 'T. On A White Horse', with some brief but highly effective playing from Weber and deft touches at the keyboard from Brüninghaus is the strongest piece of the set. It does leave one to ponder whether presenting this material as a duet with out the orchestra may have yielded more interesting results.
ECM 674 3101
Rainer Brüninghaus (piano); Eberhard Weber (bass)
Celli, French Horns & Oboe:
Members Of The Philharmonic Orchestra, Oslo
Recorded August 1976
German bassist Eberhard Weber's career often appears a paradox and contradictory to his enormous talent. After inventing and mastering his unique triangular shaped five-string upright electric bass which he played with a beautiful tone tone that was again uniquely his own, his recording career is strangely chequered. Over the course of more than three decades recording for ECM it often seems that his best work has been on the albums of others, and his own records have been a little hit or miss, with this album falling into the latter category.
At this point in his career the bassist was producing some excellent work, including superb records under his own name, The Colours Of Chloe (1973), Yellow Fields (1975) and Little Movements (1980) with his group Colours featuring saxophonist Charlie Mariano and regular collaborator Rainer Brüninghaus on piano. It is therefore odd that in between the aforementioned albums that Weber should record this rather faceless and lacklustre affair.
All the hallmarks are present with the bassist's impeccable sound and Brüninghaus' lyrical piano, but it all seems a little lost in the context. The melodies are often fleeting and unsubstantial, the playing of both bass and piano to sparse and the orchestration inconsequential. The album does have its moments, but these were sadly not seized by the two musicians and developed in any way.
The net result is a rather dreary affair, and the opening 'T. On A White Horse', with some brief but highly effective playing from Weber and deft touches at the keyboard from Brüninghaus is the strongest piece of the set. It does leave one to ponder whether presenting this material as a duet with out the orchestra may have yielded more interesting results.
KENNY WHEELER - Double, Double You
ECM 674 3214
Kenny Wheeler (trumpet & flugelhorn); Mike Brecker (tenor saxophone); John Taylor (piano); Dave Holland (double bass); Jack DeJohnette (drums)
Recorded May 1983
I used to have a copy of this superb album on cassette many years ago, and haven't heard it since the tape snapped. It is therefore good to have this recording once again, and if the cassette has long since gone the music has long gone the music has lingered in the memory.
For this quintet recording Wheeler has assembled an all star cast, with whom he had numerous encounters over the years. The musical relationship between Dave Holland and Jack DeJohnette is now legendary, and pianist John Taylor was an obvious choice for piano duties. Rather less obvious however, is the selection of Mike Brecker as the second horn and front line partner. The trumpeter proves to be absolutely spot on in his choice of tenor player as Brecker's often full on playing is a perfect foil to Wheeler's. Whereas the trumpet lines are carefully chiselled and sculpted, the saxophonist forges ahead with his contributions carved out of granite. This contrast between the two horns is heard to great effect on 'Foxy Trot' and 'W.W', and staggeringly compatible on contrapuntal lines of 'Three For D'reen'.
John Taylor's association with Wheeler was longstanding, as were collectively two thirds of the Azimuth trio that recorded many fine albums for ECM. That Taylor was the perfect pianist for the session is a no-brainer , and his empathy for both the trumpeter and his compositions is clear to hear with the duet, Ma Bel', a real joy. Working as part of the rhythm section, Taylor's playing is flawless. He knows just when to push and how to bring things back down.
As for the leader, well Kenny is Kenny. He brings some memorable tunes, and with typical modesty leads from the front. His solos are lithe, economical and erudite and played with a tone and expressive range that could not be mistaken for anybody else. In an extensive discography there are many Jewels in Wheeler's crown and it would be a real shame to miss this one.
ECM 674 3214
Kenny Wheeler (trumpet & flugelhorn); Mike Brecker (tenor saxophone); John Taylor (piano); Dave Holland (double bass); Jack DeJohnette (drums)
Recorded May 1983
I used to have a copy of this superb album on cassette many years ago, and haven't heard it since the tape snapped. It is therefore good to have this recording once again, and if the cassette has long since gone the music has long gone the music has lingered in the memory.
For this quintet recording Wheeler has assembled an all star cast, with whom he had numerous encounters over the years. The musical relationship between Dave Holland and Jack DeJohnette is now legendary, and pianist John Taylor was an obvious choice for piano duties. Rather less obvious however, is the selection of Mike Brecker as the second horn and front line partner. The trumpeter proves to be absolutely spot on in his choice of tenor player as Brecker's often full on playing is a perfect foil to Wheeler's. Whereas the trumpet lines are carefully chiselled and sculpted, the saxophonist forges ahead with his contributions carved out of granite. This contrast between the two horns is heard to great effect on 'Foxy Trot' and 'W.W', and staggeringly compatible on contrapuntal lines of 'Three For D'reen'.
John Taylor's association with Wheeler was longstanding, as were collectively two thirds of the Azimuth trio that recorded many fine albums for ECM. That Taylor was the perfect pianist for the session is a no-brainer , and his empathy for both the trumpeter and his compositions is clear to hear with the duet, Ma Bel', a real joy. Working as part of the rhythm section, Taylor's playing is flawless. He knows just when to push and how to bring things back down.
As for the leader, well Kenny is Kenny. He brings some memorable tunes, and with typical modesty leads from the front. His solos are lithe, economical and erudite and played with a tone and expressive range that could not be mistaken for anybody else. In an extensive discography there are many Jewels in Wheeler's crown and it would be a real shame to miss this one.
Part 3 of this article will be published in June, click on the album covers
to order any of the titles in this feature.
to order any of the titles in this feature.
