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ECM

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Topic: ECM
Posted By: idlero
Subject: ECM
Date Posted: 08 Apr 2011 at 1:15pm
I think ECM deserves a seperate topic , actually I kind of expected to see an ECM subgenre
Anyway, some like it and some hate it.
Personally I try to sample almost everything that comes out on ECM and which is even slightly related to jazz.



Replies:
Posted By: Stooge
Date Posted: 08 Apr 2011 at 1:26pm
Is this with reference to the record label or something else?


Posted By: idlero
Date Posted: 08 Apr 2011 at 1:29pm
Yes, the record label, but in a way it's also almost like a genre of musicwith several sub-genres


Posted By: Abraxas
Date Posted: 08 Apr 2011 at 1:37pm
I don't know much about it, other than my dad owning half of Metheny's huge discography which is mostly ECM. Also, plenty of Jarrett.

Care to recommend some ECM albums?

(I also have John Abercrombie's Timeless, and maybe some other)


Posted By: Stooge
Date Posted: 08 Apr 2011 at 1:39pm
I believe Marc Johnson's album, Bass Desires, was on ECM.  It features drummer Peter Erskine with Bill Frisell and John Scofield pairing up on guitar.  I'd recommend that album for sure. Smile


Posted By: darkshade
Date Posted: 08 Apr 2011 at 1:41pm
i think most of the stuff I have that is ECM is Dave Holland, Chick Corea and Pat Metheny. I'll have to go through and see what else I have

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http://www.last.fm/user/MysticBoogy" rel="nofollow - My Last.fm


Posted By: Ricochet
Date Posted: 08 Apr 2011 at 2:00pm
I've browsed enough ECM, so I pick anything specific to refer to. As for the ECM style, the new Bjornstad/Henryson album (Night Song) made me wonder if the label is actually against contrasts, different dynamics. The album is nice, but you feel as if there could have been more done, hence why you wonder if they've been asked to come with 16 songs of the same style, mood et all.

Of course, this extends to a whole lot more within the ECM archives.

The label also seems hooked to blurry photos as covers these days.


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Posted By: harmonium.ro
Date Posted: 08 Apr 2011 at 2:14pm
The stuff I have I consider essential to my musical education, but I confess I only got my fingertips wet in this ocean.

Relevant artists for me are Steve Tibbetts, Peter Erskine, Keith Jarrett, Colin Walcott, Steve Eliovson, Stephan Micus, Jan Garbareck, Anouar Brahem, Terje Rypdal.


Posted By: idlero
Date Posted: 08 Apr 2011 at 2:18pm
Originally posted by Abraxas Abraxas wrote:

I don't know much about it, other than my dad owning half of Metheny's huge discography which is mostly ECM. Also, plenty of Jarrett.

Care to recommend some ECM albums?

(I also have John Abercrombie's Timeless, and maybe some other)

I don't know your tastes, ECM is a bit "different" (for example Jan Garbarek's Officium) and the style evolved in time .Most of their recent releases fall in the Third Stream and Nu Jazz categories.
To get an impression try :
Nick Bartsch - anything you can find
Anouar Brahem-Le Pas Du Chat Noir
Jan Garbarek, Anouar Brahem-Madar
Arve Henriksen-Cartography
Mathias Eick-The Door


Posted By: idlero
Date Posted: 08 Apr 2011 at 2:20pm
Originally posted by Ricochet Ricochet wrote:

I've browsed enough ECM, so I pick anything specific to refer to. As for the ECM style, the new Bjornstad/Henryson album (Night Song) made me wonder if the label is actually against contrasts, different dynamics. The album is nice, but you feel as if there could have been more done, hence why you wonder if they've been asked to come with 16 songs of the same style, mood et all.

Of course, this extends to a whole lot more within the ECM archives.

The label also seems hooked to blurry photos as covers these days.


You are right about Night Song
Did you try Francois Cotourier-Tarkovski Quartet?


Posted By: andyman1125
Date Posted: 08 Apr 2011 at 3:20pm
ECM has made some fantastic jazz, but I like the Blue Note collection better.

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Posted By: idlero
Date Posted: 08 Apr 2011 at 3:23pm
IMO Blue Note is more "straight jazz", ECM is "different"-more Nu Jazz and Third Stream, also some World Fusion


Posted By: darkshade
Date Posted: 08 Apr 2011 at 3:24pm
Originally posted by idlero idlero wrote:

IMO Blue Note is more "straight jazz", ECM is "different"-more Nu Jazz and Third Stream, also some World Fusion


Ive heard some avant-jazz too


-------------
http://www.last.fm/user/MysticBoogy" rel="nofollow - My Last.fm


Posted By: andyman1125
Date Posted: 08 Apr 2011 at 4:05pm
Originally posted by idlero idlero wrote:

IMO Blue Note is more "straight jazz", ECM is "different"-more Nu Jazz and Third Stream, also some World Fusion

True. I guess I like a lot of that straight jazz LOL


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Posted By: Kazuhiro
Date Posted: 08 Apr 2011 at 7:05pm

The CD shop in Japan is often setting up the place only for ECM.

Of course, the New series is included there. They might often be the progressive music and be items of Third Stream though I bought the album of Ketil Bjornstad and Meredith Monk.

Especially, it is guessed that the New series has not been considered with JMA yet.



Posted By: idlero
Date Posted: 13 Apr 2011 at 8:53am
Mathias Eick's Skala is a strange ECM release, I wasn't expecting elevator music from ECM


Posted By: snobb
Date Posted: 01 May 2011 at 6:16am
Originally posted by andyman1125 andyman1125 wrote:

Originally posted by idlero idlero wrote:

IMO Blue Note is more "straight jazz", ECM is "different"-more Nu Jazz and Third Stream, also some World Fusion

True. I guess I like a lot of that straight jazz LOL

ECM at early 70s gave us all the line of excellent avant-garde jazz albums, recorded with their precise and crystal clear sound mix. Unfortunately very soon (mid-late 70s) they switched to less experimental more simplified music, mixing soft fusion with lot of folklore,what very soon became their "classic 80s" sound - safe well polished chamber world fusion very often on the border with terrible new age sound. 

To be honest, they tried to return back to a bit more experimental (for its time) music, Molvaers some early albums were released on ECM, and some nowadays their releases are a bit more adventurous than all others, but historically looking they made the way (during few decades) from indie experimental label with very own face and sound to commercially successful conformist European chamber contemporary jazz /world fusion/new age label (still having their face and sound - and you don't expect no surprises from their well-crafted and super safe saloon music, still of highest standard though).

ECM by no way is the label associated with progressive (or just innovative) nu jazz nowadays as well. Their few nu jazz releases usually present mix of contemporary jazz (or new age) with some nu jazz elements - saloon conformist music for younger consumers. But - of high quality as well.


Posted By: Matt
Date Posted: 01 May 2011 at 6:39am
I like them but they are  fairly predictable but still they do some good albums. My faves of the label are Tomas Stanko, Louis Sclavis, Dave Holland, Jarret of course and Jan Garbarek." Leosia" and "From The Greenhill "by Stanko are beautiful. Louis Sclavis, L'Affrontement Des Pretendants is another great album. One composer who is on the label and really the only Classical artist I listen to is Arvo Part with "Alina" being my pick but that is not his usual fare and from that I like the new one and "In Principio".
 
Anyone into Stephen Micus with all his different world instruments. I do not know much about him myself and own nothing from him but just curious if anyone here is in to him.
Well back to work for me as that is where I am at the moment Wink


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Matt


Posted By: Prog Geo
Date Posted: 01 May 2011 at 6:52am
Originally posted by idlero idlero wrote:

Mathias Eick's Skala is a strange ECM release, I wasn't expecting elevator music from ECM


I just listen to some songs now. He is fantastic!


Posted By: idlero
Date Posted: 01 May 2011 at 7:50am
Originally posted by Prog Geo Prog Geo wrote:

Originally posted by idlero idlero wrote:

Mathias Eick's Skala is a strange ECM release, I wasn't expecting elevator music from ECM


I just listen to some songs now. He is fantastic!

Then you should listen to his 1st album "The Door"


-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: Prog Geo
Date Posted: 01 May 2011 at 8:12am
Originally posted by idlero idlero wrote:

Originally posted by Prog Geo Prog Geo wrote:

Originally posted by idlero idlero wrote:

Mathias Eick's Skala is a strange ECM release, I wasn't expecting elevator music from ECM


I just listen to some songs now. He is fantastic!

Then you should listen to his 1st album "The Door"


I downloaded before one hour and someday I will buy it and Skala too.


Posted By: Krilons Resa
Date Posted: 01 May 2011 at 9:12am
I'm in the camp who, for the most part, can't get into the ECM sound at all. Sleepy

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That shows you the power of music, that magician of magician, who lifts his wand, says his mysterious word and all things real pass away and the phantoms of your mind walk before you clothed in flesh.


Posted By: idlero
Date Posted: 01 May 2011 at 9:15am
Originally posted by Krilons Resa Krilons Resa wrote:

I'm in the camp who, for the most part, can't get into the ECM sound at all. Sleepy


I guess it's an acquired taste, somehow I always felt much more comfortable with the ECM sound than fusion for example, maybe because I like also classical music and much of ECM's recent releases are kind of chamber jazz


-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: harmonium.ro
Date Posted: 01 May 2011 at 9:45am
Originally posted by snobb snobb wrote:

Originally posted by andyman1125 andyman1125 wrote:

Originally posted by idlero idlero wrote:

IMO Blue Note is more "straight jazz", ECM is "different"-more Nu Jazz and Third Stream, also some World Fusion

True. I guess I like a lot of that straight jazz LOL

ECM at early 70s gave us all the line of excellent avant-garde jazz albums, recorded with their precise and crystal clear sound mix. Unfortunately very soon (mid-late 70s) they switched to less experimental more simplified music, mixing soft fusion with lot of folklore,what very soon became their "classic 80s" sound - safe well polished chamber world fusion very often on the border with terrible new age sound. 

To be honest, they tried to return back to a bit more experimental (for its time) music, Molvaers some early albums were released on ECM, and some nowadays their releases are a bit more adventurous than all others, but historically looking they made the way (during few decades) from indie experimental label with very own face and sound to commercially successful conformist European chamber contemporary jazz /world fusion/new age label (still having their face and sound - and you don't expect no surprises from their well-crafted and super safe saloon music, still of highest standard though).

ECM by no way is the label associated with progressive (or just innovative) nu jazz nowadays as well. Their few nu jazz releases usually present mix of contemporary jazz (or new age) with some nu jazz elements - saloon conformist music for younger consumers. But - of high quality as well.


Hmmm, I was about to contradict you, but then I remembered that while I probably only heard about 30 ECM albums (all of them top quality), you're the researcher kind of listener, who explores extensively. So you most likely know better then me what is the average of ECM releases outside the top ones.

Even still, I wouldn't call the mixing of jazz fusion and traditional music a "simplified music", at all. On the contrary, I find this mix one of the most outstanding ideas in the music of the last decades and paradigmatic to postmodern culture. Or maybe we're not talking about the same thing? I'm thinking of stuff like Garbareck's mix of Gregorian chant and jazz saxophone, Tibbett's mix of guitar ambient and Indian percussion, or Micus' mix of experimental sounds and Byzantine chant.

BTW I love Stephane Micus' Athos, where he does the mix with Byzantine chant, inspired by the daily cycles of a monastery from the Holy Mount Athos. That album is particularly more special to me as I've been to the Mount Athos (one of the most powerful experiences in my life, if not THE most).

BTW this film showing my brother's painting exhibition has music from Athos on the soundtrack:




Posted By: Prog Geo
Date Posted: 01 May 2011 at 11:04am
Nice composition and congratulations to your brother! Also congratulations to you for being the curator.


Posted By: Katje
Date Posted: 01 May 2011 at 9:23pm
Originally posted by snobb snobb wrote:

ECM at early 70s gave us all the line of excellent avant-garde jazz albums, recorded with their precise and crystal clear sound mix.


The section in bold was one of my big turnoffs regarding the label.

What 70's release would you considering excellent (this is just personal interest speaking)? For me Marion Brown's Afternoon of a Georgia Faun is a highlight from their earlier releases. It gets lumped in with the Free Jazz mob, but is really open, spacious free improvisation, closer to the Holland/Bailey album released a couple of years later (tho' far superior, imo). Put every inch of interesting (after a strong recommendation by a trusted friend) in enjoying Paul Bley's Open to Love to little avenge, mainly because of the recording, making the love I sort frost bitten 'round the edges.

Along the freer line the Music Improvisation Company LP's were passable, but were (generally speaking) put to shame by the LP's being release on fellow German label FMP (free music production).
Anyone got any opinions of Circle's Paris-Concert? 

Probably don't need to mention Conference of the Birds.



Posted By: snobb
Date Posted: 02 May 2011 at 2:31am
I understand your point of view on specific (technical) sound characteristics of early ECM releases (and possibly all ECM recordings in general), but it's more question of taste. At least, st early 70s they introduced their own very different sound as alternative to dominated raw sound of free jazz releases all around. 

While there were lot of Garbarek's music  mentioning above, for me excellent examples of early ECM releases are three first Garbarek's album on label (his debut was released not on ECM).Starting from Witchi Tai-To he turned to more folklore influenced and much easier accessible music and very soon became one of jazzy folklore/ jazzy new age  standard ECM sound icon. Similar with Jarrett ( ok, his best albums are not on ECM but on US labels), but starting from one of the most successful commercially ECM release Koln Concert he showed the way how to mix jazz and classic in one attractive accessible and commercially successful product. I believe this his album is one which seriously influenced later Contemporary jazz ( post-bop mix with smooth jazz, with only small amount of classical elements - to make music even more accessible).


Posted By: snobb
Date Posted: 02 May 2011 at 3:09am
Originally posted by harmonium.ro harmonium.ro wrote:

 

Hmmm, I was about to contradict you, but then I remembered that while I probably only heard about 40-50 ECM albums (all of them top quality), you're the researcher kind of listener, who explores extensively. So you most likely know better then me what is the average of ECM releases outside the top ones.

Even still, I wouldn't call the mixing of jazz fusion and traditional music a "simplified music", at all. On the contrary, I find this mix one of the most outstanding ideas in the music of the last decades and paradigmatic to postmodern culture. Or maybe we're not talking about the same thing? I'm thinking of stuff like Garbareck's mix of Gregorian chant and jazz saxophone, Tibbett's mix of guitar ambient and Indian percussion, or Micus' mix of experimental sounds and Byzantine chant.

BTW I love Stephane Micus' Athos, where he does the mix with Byzantine chant, inspired by the daily cycles of a monastery from the Holy Mount Athos. That album is particularly more special to me as I've been to the Mount Athos (one of the most powerful experiences in my life, if not THE most).

BTW this film showing my brother's painting exhibition has music from Athos on the soundtrack:



I believe the point of view on such music depends more on personal taste LOL.

My very personal opinion is melting jazz and (authentic) folklore was great concept, but there are not many really successful examples of it. I could mention McLaughlin and Shakti's first release as good example, but can hardly remember really interesting ECM world fusion release. Almost all Garbarek's albums I heard (I didn't listen all - can't stand all the line of his releases from late 70s,80,90s at all) are good example of successful (or not very successful) world fusion idea's commercialization. Not much "folk" elements in his music are authentic ("raw") folklore, and his jazz element is soaped and polished to make the final product toothless, comfortable and very conformist listening to European middle class (and I'm far not a leftist rebel, my political platform is seriously right from center LOL ). I like mix of that rare cases of jazz and folklore synthesis which are alive but not smells like CDs with adapted folklore for rich tourists in popular tourist destinations.

Speaking about Garbarek's Novus releases, I think first of all they have nothing too much to do with jazz at all. There were two Garbarek & Hillard Ensemble's concerts in Vilnius few weeks ago (fist was sold in three days and then the second,additional one was announced), I perfectly know my hometown jazz funs for years,no one of them was interested in these concerts at all. I saw the public leaving the St.Katrine church (where the concerts happened), there were great middle class families with grandmothers and grandfathers,children - wearing nice clothes (as they were in opera or in church during Easter). It's great such music exists and such concerts are excellent event for community, but they have nothing to do with jazz at all. We all know there a lot of great music exists, not all is jazz though. Speaking about jazz (look at this genre's roots) one of cornerstone idea is free spirit, spontaneity, improvisation. How much of these elements you can find in Garbarek's world fusion or ECM chamber jazz releases? It's more pleasant listening for adults when children are gone to sleepLOL .

O,Athos - I know this place . Two summers ago we spent two weeks in Ouranopolis - the last small town stell on Greek land, not "holy land" ,near Athos. I didn't visit Athos mountain though - as you know only men can visit this place, no women allowed cross "holy land" border (yes, we are speaking not about Iraq, but about nowadays Greece,which are one of European country). I've been on summer holidays with my wive, and had no intention to go there just alone (wasn't so much interested as well). I've seen some similar "holy" places before (catholic,orthodox and Muslim) ,all they have special aura for believers I think.

And I really like the the clip with paintings - looks peaceful and Greece-influenced.


Posted By: harmonium.ro
Date Posted: 02 May 2011 at 6:07am
Originally posted by snobb snobb wrote:

I believe the point of view on such music depends more on personal taste LOL.


Exactly.

Originally posted by snobb snobb wrote:

I believe the point of view on such music depends more on personal taste LOL.

My very personal opinion is melting jazz and (authentic) folklore was great concept, but there are not many really successful examples of it. I could mention McLaughlin and Shakti's first release as good example, but can hardly remember really interesting ECM world fusion release. Almost all Garbarek's albums I heard (I didn't listen all - can't stand all the line of his releases from late 70s,80,90s at all) are good example of successful (or not very successful) world fusion idea's commercialization. Not much "folk" elements in his music are authentic ("raw") folklore, and his jazz element is soaped and polished to make the final product toothless, comfortable and very conformist listening to European middle class (and I'm far not a leftist rebel, my political platform is seriously right from center LOL ). I like mix of that rare cases of jazz and folklore synthesis which are alive but not smells like CDs with adapted folklore for rich tourists in popular tourist destinations.


I trust your word on that.

My problem with ECM is that while I love all the world jazz innovations they made, all the musicians from this area seem incapable of continuing to innovate upon their innitial idea. All the records sound the same. For some musicians I can take more (like for Steve Tibbetts), but for some I can't; when I heard a second album with jazz sax and Gregorian chant by Garbarek, I was very disapppointed - why would I be interested in more of the same when I can keep listening to Mnemosyne (the first one like this that I heard)? (But I wouldn't call Mnemosyne a commercialization of the world jazz idea, I find it radical and brilliant).

Originally posted by snobb snobb wrote:

Speaking about Garbarek's Novus releases, I think first of all they have nothing too much to do with jazz at all. There were two Garbarek & Hillard Ensemble's concerts in Vilnius few weeks ago (fist was sold in three days and then the second,additional one was announced), I perfectly know my hometown jazz funs for years,no one of them was interested in these concerts at all. I saw the public leaving the St.Katrine church (where the concerts happened), there were great middle class families with grandmothers and grandfathers,children - wearing nice clothes (as they were in opera or in church during Easter). It's great such music exists and such concerts are excellent event for community, but they have nothing to do with jazz at all. We all know there a lot of great music exists, not all is jazz though. Speaking about jazz (look at this genre's roots) one of cornerstone idea is free spirit, spontaneity, improvisation. How much of these elements you can find in Garbarek's world fusion or ECM chamber jazz releases? It's more pleasant listening for adults when children are gone to sleepLOL .


I agree world jazz like ECM has very little to do with swing, ragtime, Kind Of Blue, all the quintessential jazz. But that doesn't make it bad or good, just different - I hope you're not judging it negatively based on that, just on musical and creative bases.


Originally posted by snobb snobb wrote:

O,Athos - I know this place . Two summers ago we spent two weeks in Ouranopolis - the last small town stell on Greek land, not "holy land" ,near Athos. I didn't visit Athos mountain though - as you know only men can visit this place, no women allowed cross "holy land" border (yes, we are speaking not about Iraq, but about nowadays Greece,which are one of European country). I've been on summer holidays with my wive, and had no intention to go there just alone (wasn't so much interested as well). I've seen some similar "holy" places before (catholic,orthodox and Muslim) ,all they have special aura for believers I think.


Yes, holy places are not tourist destinations, it was a better idea not to go. They have their own logic and if you don't adher to it then the result can only be a misencounter. There are many places better for cultural tourism in Greece anyway, like the monasteries on the Meteora island, who are much more spectacular and have no religious code there.


Posted By: snobb
Date Posted: 02 May 2011 at 6:26am
^ Not ECM-related comment LOL - speaking about orthodox holy places, I visited some Serbian and Montenegrian old monasteries in mountains and on Adriatic islands, there is really that genuine holy spirit. Similar air exists in some old Russian churches  in the middle of nowhere,places forgotten by God and people. Same as with world fusion - commercialization process kills (free) spirit everywhere.


Posted By: snobb
Date Posted: 02 May 2011 at 6:35am
Originally posted by harmonium.ro harmonium.ro wrote:

 
My problem with ECM is that while I love all the world jazz innovations they made, all the musicians from this area seem incapable of continuing to innovate upon their innitial idea. All the records sound the same. For some musicians I can take more (like for Steve Tibbetts), but for some I can't; when I heard a second album with jazz sax and Gregorian chant by Garbarek, I was very disapppointed - why would I be interested in more of the same when I can keep listening to Mnemosyne (the first one like this that I heard)? (But I wouldn't call Mnemosyne a commercialization of the world jazz idea, I find it radical and brilliant).

I believe the main reason is ECM for years is successful commercial enterprise and they support every experimentation only till next successful formula (in their case - sound which could be sold in big quantities) is found. Than they are trying to produce as much variations of the formula found as possible (because of pure commercial reasons). When the formula doesn't work anymore, they try to find another profitable one. 

Very often it's not an artist's fault - label isn't interested in any experiments till artist's album sells well. Every change in sound could disappoint album's byers (listeners), label can't afford such risk. Small indie and non-commercial labels often release a lot of experimental music (big part of their releases are just garbage), but they have nothing to loose. Sometimes they release real brilliants. ECM were similar label at the beginning of their history, for last few decades they are successful business enterprise, producing high quality safe production :no big risk - no losses


Posted By: Katje
Date Posted: 02 May 2011 at 7:15am
Originally posted by snobb snobb wrote:

I understand your point of view on specific (technical) sound characteristics of early ECM releases (and possibly all ECM recordings in general), but it's more question of taste. At least, st early 70s they introduced their own very different sound as alternative to dominated raw sound of free jazz releases all around. 

While there were lot of Garbarek's music  mentioning above, for me excellent examples of early ECM releases are three first Garbarek's album on label (his debut was released not on ECM).Starting from Witchi Tai-To he turned to more folklore influenced and much easier accessible music and very soon became one of jazzy folklore/ jazzy new age  standard ECM sound icon. Similar with Jarrett ( ok, his best albums are not on ECM but on US labels), but starting from one of the most successful commercially ECM release Koln Concert he showed the way how to mix jazz and classic in one attractive accessible and commercially successful product. I believe this his album is one which seriously influenced later Contemporary jazz ( post-bop mix with smooth jazz, with only small amount of classical elements - to make music even more accessible).


Yes, you are right, the production is just one facet of a larger whole which is taste. And it is an easy escape goat since I've not put much thought into my feelings towards the label as a whole; call it a willful ignorance if you will. So, in consideration of this, it has been interesting to read a bit of history behind the label.

I'll give Witchi-Tai-To at some stage thought it might not be soon.

Originally posted by snobb snobb wrote:


Very often it's not an artist's fault - label isn't interested in any experiments till artist's album sells well. Every change in sound could disappoint album's byers (listeners), label can't afford such risk. Small indie and non-commercial labels often release a lot of experimental music (big part of their releases are just garbage), but they have nothing to loose. Sometimes they release real brilliants. ECM were similar label at the beginning of their history, for last few decades they are successful business enterprise, producing high quality safe production :no big risk - no losses


Not sure I agree with this (not, to some extent, being the artist fault), but I think that might be an entirely different discussion altogether WinkTongue


Posted By: snobb
Date Posted: 02 May 2011 at 7:19am
It's again just my very personal point of view - and I am not musician, but have 20+ yrs experience in business, so it's just a look from such point of view LOL


Posted By: Sean Trane
Date Posted: 02 May 2011 at 3:53pm
Originally posted by idlero idlero wrote:

Originally posted by Krilons Resa Krilons Resa wrote:

I'm in the camp who, for the most part, can't get into the ECM sound at all. Sleepy


I guess it's an acquired taste, somehow I always felt much more comfortable with the ECM sound than fusion for example, maybe because I like also classical music and much of ECM's recent releases are kind of chamber jazz
 
 
I agree with Krilons, but in a different way.... Actually I found that the albums are usually very well recorded, so the "sound" proper is not the issue, but the general artistic direction of the label - I've heard some 50 to 70 mostly 70's and 80's albums from Tibbets, Abercrombie, Metheny , Rypdal,  etc.... - including the typical ECM artworks (it's a detail, I know, but it's part of a signature), but generally it's rather bland and insipid to my ears. Indeed, this smooth jazz approach is often dangerously close to elevator music or even muzak  (well  I'm exagerating a tad to make my point) and often boooooores me that I find difficult not to pop the disc out of my deck before the end.
 
Probably my fave ECM release is the first Return to Forever album
 
 
However to me ECM albums (for their majority) should be really branded as fusion and smooth jazz (IMHO, anyway) , but indeed rather diifferent from the much more energetic JR/F or the 70's
 
 
-----------
 
 
Some people have hinted that ECM was for European Chamber Music, but the first two letter are from the owner's initials


Posted By: idlero
Date Posted: 02 May 2011 at 4:03pm
In an interview in 2001 Manfred Eicher declared: “I have tried to remain true to what I see as jazz—and that means music that suggests adventure. Today we are in a neoclassical time, but that isn’t adventure to me. Originality is what I look for, something that moves me.”  I wouldn't call most of their recent releases  adventurous, but maybe in 10 years ME changed his perspective.



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I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: darkshade
Date Posted: 03 May 2011 at 12:25am
What do you guys consider to be the top 10 ECM albums?

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http://www.last.fm/user/MysticBoogy" rel="nofollow - My Last.fm


Posted By: snobb
Date Posted: 03 May 2011 at 1:49am
While ECM is label and not music genre, I believe there could be different lists of their releases depending on your musical taste. 

One ECM excellent album for all tastes I believe is Chick Corea's "Return To Forever", which isn't very characteristic ECM release musically, but demonstrates  their specific sound engineering well. Garbarek's Pepperbird is another ECM great release coming in mind.  


Posted By: Sean Trane
Date Posted: 03 May 2011 at 11:32am
Originally posted by darkshade darkshade wrote:

What do you guys consider to be the top 10 ECM albums?
I couldn't possibly come up with a list of 10 (I rarely do in any kind of way, anywayWink)
 
 
All I'm sure about is that the first RTF album is my fave
 
 
It's rather sad I must say that all the other ones are far behind, which doesn't mean that they're not worthy.... Jarrett's Koln concert would also be in..my top 10....
 
 
ECM disc are still sooooooooo frigging expensive too. Confused.... which doesn't help into discovering the catalogueStern Smile


Posted By: idlero
Date Posted: 03 May 2011 at 1:00pm
Some of my favourites:
Concert in Koln
Officium
Thimar


-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: darkshade
Date Posted: 03 May 2011 at 1:23pm
Originally posted by idlero idlero wrote:

Some of my favourites:
Concert in Koln
Officium
Thimar


That's Keith Jarrett right? Ive heard of it.

I also have the Chick Corea - "Return to Forever" album, though I should listen to it again, it's been a long time. I also have a few Dave Holland albums, they're all really good.

Is "Circle" with Corea, Holland, and Anthony Braxton an ECM recording?


-------------
http://www.last.fm/user/MysticBoogy" rel="nofollow - My Last.fm


Posted By: Standavisjazz
Date Posted: 11 May 2011 at 10:37am
I love ECM! I just posted a thread about Steve Kuhn's upcoming concert at the Triad Theatre in NYC on May 27th.  Any ECM fans going?

Here is the link to buy discounted advance tickets:
http://www.brownpapertickets.com/event/171424" rel="nofollow -

Friday, May 27th
Triad Theatre
158 West 72nd St, New York, NY
Double performance, featuring:
Steve Kuhn (solo piano) 
Daniel Bennett Group 
"Peace and Stability Among Bears" CD Release Concert!

Visit 
http://www.triadnyc.com/" rel="nofollow -
Purchase Tickets HERE!
9:30pm (doors open at 9pm)
$20 in advance ($25 at the door)

(New York, NY) The Triad Theatre (
http://www.triadnyc.com/" rel="nofollow - ) hosts a double bill performance, featuring a solo set by legendary jazz pianist Steve Kuhn ( http://www.stevekuhnmusic.com/" rel="nofollow - ), and a set by the Daniel Bennett Group, led by NYC "Folk-Jazz" saxophonist Daniel Bennett ( http://www.danielbennettgroup.com/" rel="nofollow - ). Friday, May 27th at 9:30pm (doors open at 9pm). Call 212-362-2590 or visit  http://www.triadnyc.com/" rel="nofollow - . All ages. Tickets are $20 in advance and $25 at the door. All advance tickets MUST be purchased at  http://www.brownpapertickets.com/event/171424" rel="nofollow -


Posted By: js
Date Posted: 11 May 2011 at 10:46am
That would be a long subway ride from Memphis Wink

Welcome to the site! 


Posted By: Standavisjazz
Date Posted: 18 May 2011 at 10:34am
Ha!  Yeah, I guess you're right.

Here is Daniel Bennett's music... AMAZING!
http://www.youtube.com/watch?v=c53xSit1yR4" rel="nofollow - https://www.youtube.com/watch?v=c53xSit1yR4


Posted By: js
Date Posted: 18 May 2011 at 11:06am
Very nice, looks like we need to get him added to the site. 


Posted By: Prog Geo
Date Posted: 18 May 2011 at 11:36am
Originally posted by Standavisjazz Standavisjazz wrote:

Ha!  Yeah, I guess you're right.

Here is Daniel Bennett's music... AMAZING!
http://www.youtube.com/watch?v=c53xSit1yR4" rel="nofollow - https://www.youtube.com/watch?v=c53xSit1yR4


Interesting video!


Posted By: Standavisjazz
Date Posted: 18 May 2011 at 2:50pm
Yeah, it's like paul desmond meets bill frisell (with a little Philip Glass)...

www.danielbennettgroup.com


Posted By: Standavisjazz
Date Posted: 18 May 2011 at 2:50pm
Oops...

http://www.danielbennettgroup.com" rel="nofollow - www.danielbennettgroup.com


Posted By: js
Date Posted: 18 May 2011 at 6:09pm
He's been approved for addition, but there will be a delay until we start working with the new musicbrainz system.


Posted By: toitoi2
Date Posted: 19 May 2011 at 7:16am

one of my best ecm cds

Ralph Towner's Batik (1977)


Posted By: Prog Geo
Date Posted: 19 May 2011 at 7:29am
I like this composition! Ralph Towner is great! I prefer Oregon's version.


Posted By: snobb
Date Posted: 29 Jun 2011 at 6:45am
Second interesting ECM release this year  - Marilyn Mazur " Celestial Circle". Marilyn Mazur is US-born Denmark-based percussionist (she played with Miles Davis shortly and 14 yrs was Jan Garbarek band's member). Her all solo albums are different, from progressive big band to world fusion, "Celestial Circle" is intelligent aerial Nordic avant-garde jazz vocals album - quite accessible and different from standard ECM polished world fusion or stereotype contemporary jazz. 

First one was Iro Haarla's "Vespers"




Posted By: Prog Geo
Date Posted: 29 Jun 2011 at 7:05am
I'll check it.


Posted By: idlero
Date Posted: 29 Jun 2011 at 11:01am


Another 2011  release I find interesting






-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: Moshkito
Date Posted: 15 Aug 2011 at 6:54pm
Originally posted by idlero idlero wrote:

I think ECM deserves a seperate topic , actually I kind of expected to see an ECM subgenre
Anyway, some like it and some hate it.
Personally I try to sample almost everything that comes out on ECM and which is even slightly related to jazz.
 
Agreed and then some.
 
Sadly, for most music and jazz listeners, ECM mixes and matches and experiments way too much for the commercial jazz listener of today that pretty much is only tuned to the Blue Note or to the simplicity of some of the stuff that is often called "housewife jazz" in some of the "cool" FM stations.
 
While I would never criticize Blue Note and all that jazz that lived before the film studios killed it, I do think that the soft jazz and half baked jazz that most people tend to hear on the radio is not even close or indicative of what the description of the music is about, and ECM has been a total breath of fresh air, and it has never been afraid to try and do things that are totally out of the ordinary and different ... and in the middle you get some amazing things that would never get heard or released in America, because of the top ten design of things.
 
I have some favorites, but in the end, I have to tell you that I have never heard a single ECM album that was bad or I did not like ... though I will admit that some of the early Jan Garbarek used to send shivers up my spine ... that was jazz in its purest form and definition ... although we might disagree and often defy that description in lieu of some idealistic concept as to what jazz really is ... sort of like the sister board, that identifies "progressive music" with a non-definition that has nothing to do with music whatsoever, or the time, or the place, that it came from.
 
So after all that ... here are some things that I still listen to, and as I said before, I do not listen to "styles" ... I listen to music, meaning that I close my eyes and I fly away with it, and I don't care what it is supposed to be ... music is here for us all to fly and be free, not to be slaves to a social definition for everything.
 
Egberto Gismonti
Terje Rypdal
David Darling
Jan Garbarek
Pat Metheny
Keith Jarrett (the best piano player in the part 75 years, second to none!)
Eberhard Weber
Charlie Haden
Ralph Towner
John Abercrombie
Shankar
_____________ Khan (sorry, can never remember this name)
 
In the end, a lot of this stuff is considered "jazz" because it is nearly impossible to classify, but it is outstanding for my ear to hear eastern folks mixing with western folks and do music, regardless of what it is called.
 
The word "jazz" in America came about mostly because it needed to differentiate itself from more commercial, music that radio was offering you, augmented by many movie stars also singing, which kinda ended the beginning of the music recordings in America, almost all of which were the jazz and blues folks, who lost all of their voice in one swell foop. but the term survived, and described an attitude, a lot more than the music itself, and it wasn't until later that it developed into the behemoth that it is today ... so well separated from the rest of the music with its labels today that everyone has no excuse to not find something.
 
And thank you ... I have always thought that no label in music, has ever been so adventurous and so caring to so many artists, and the amount of music it has provided for 40 years is down right insane, and still to this day, few people can sit here and say ... ECM is about jazz ... because in the end ... ECM is about music and jazz is just one side of it.
 
And finally ... I wonder if someone did this for me, to get me here ... because in the sister board I was passionate about this label, and still think that it is the best music label ever ... and they have been at it 40 plus years ... which the majority of labels never do or have! You have to love the music itself to do that ...


Posted By: Moshkito
Date Posted: 15 Aug 2011 at 7:15pm
Originally posted by snobb snobb wrote:


I believe the point of view on such music depends more on personal taste LOL.
 
 
Somewhere along the line, we're going to have to agree and disagree and give each other the ability and right to disagree ... and hten come together so we can have a very good definition, idea, and history of the art form.
 
Without that ability, our very own "personal taste" amounts to nothing but another bar-room drink and discussion that has very little value, and since we tend to not discuss the arts as they used to in the old Paris cafe's that were famous fro creating more than one artistic scene, and we could do the same thing here ... just like the sister board could do with the other music by killing it for the listeners right at the front door!
 
But I think it is fair to say that mixing things, and doing something different is what ECM is about and has been for 40 years, and that is not something that Blue Note or any other jazz label could ever say about their music.
 
Now, for you or I to say I like this but not that, or the mix of this and that is weird, yes it might be a strange mix, and what not, but sometimes that is what it takes to help spread the music and find new realms of expression and in that sense, there is no such thing as bad, or "personal taste".
 
You and I can put on "Eventyr" by Jan Garbarek and immediately we will say ... that's not jazz ... or we can put on Terje's and David's "Eos" and we will say ... that's not jazz ... but you and I can not sit here and say ... that's not far out music. One is more into the Ambient or World sound of things (Garbarek's) whereas the other is the best Chamber Concert set of pieces you will ever hear for Electric Guitar ... and it's beautiful and one of the finest things ever done in a guitar! And something that I really believe that folks like Jimi Hendrix would have loved to do and try, if he were not so tied up to the drugs and fame!


Posted By: Moshkito
Date Posted: 15 Aug 2011 at 7:48pm
Hi,
 
BTW, the mention of jazz history and the recording came from the special DVD on Tom Dowd ... if you have never heard of it, or seen it, it will be one of the greatest lessons in music history in America that you will ever hear about and see it explained. That same man, had an amazing ear for music and captured one of rock music's enduring and bautiful duets ever, but you can see in the end, that it was his ear for music and ability that caught it in the first place, because if you don't have the ear and the love for the feel and the music ITSELF it doesn't matter what it is or what it becomes ... it will never have that special secret feeling that makes us all slaves to its beauty!
 
The side effect? ... you're not gonna like a lot of movies right off the bat!


Posted By: Sean Trane
Date Posted: 16 Aug 2011 at 2:59am
Originally posted by Moshkito Moshkito wrote:

Originally posted by idlero idlero wrote:

I think ECM deserves a seperate topic , actually I kind of expected to see an ECM subgenre
Anyway, some like it and some hate it.
Personally I try to sample almost everything that comes out on ECM and which is even slightly related to jazz.
 
Agreed and then some.
 
Sadly, for most music and jazz listeners, ECM mixes and matches and experiments way too much for the commercial jazz listener of today that pretty much is only tuned to the Blue Note or to the simplicity of some of the stuff that is often called "housewife jazz" in some of the "cool" FM stations.
 
While I would never criticize Blue Note and all that jazz that lived before the film studios killed it, I do think that the soft jazz and half baked jazz that most people tend to hear on the radio is not even close or indicative of what the description of the music is about, and ECM has been a total breath of fresh air, and it has never been afraid to try and do things that are totally out of the ordinary and different ... and in the middle you get some amazing things that would never get heard or released in America, because of the top ten design of things.
 
I have some favorites, but in the end, I have to tell you that I have never heard a single ECM album that was bad or I did not like ... though I will admit that some of the early Jan Garbarek used to send shivers up my spine ... that was jazz in its purest form and definition ... although we might disagree and often defy that description in lieu of some idealistic concept as to what jazz really is ... sort of like the sister board, that identifies "progressive music" with a non-definition that has nothing to do with music whatsoever, or the time, or the place, that it came from.
 
So after all that ... here are some things that I still listen to, and as I said before, I do not listen to "styles" ... I listen to music, meaning that I close my eyes and I fly away with it, and I don't care what it is supposed to be ... music is here for us all to fly and be free, not to be slaves to a social definition for everything.
 
_STEVE Khan (sorry, can never remember this name) I believe
 
In the end, a lot of this stuff is considered "jazz" because it is nearly impossible to classify, but it is outstanding for my ear to hear eastern folks mixing with western folks and do music, regardless of what it is called.
 
The word "jazz" in America came about mostly because it needed to differentiate itself from more commercial, music that radio was offering you, augmented by many movie stars also singing, which kinda ended the beginning of the music recordings in America, almost all of which were the jazz and blues folks, who lost all of their voice in one swell foop. but the term survived, and described an attitude, a lot more than the music itself, and it wasn't until later that it developed into the behemoth that it is today ... so well separated from the rest of the music with its labels today that everyone has no excuse to not find something.
 
And thank you ... I have always thought that no label in music, has ever been so adventurous and so caring to so many artists, and the amount of music it has provided for 40 years is down right insane, and still to this day, few people can sit here and say ... ECM is about jazz ... because in the end ... ECM is about music and jazz is just one side of it.
 
And finally ... I wonder if someone did this for me, to get me here ... because in the sister board I was passionate about this label, and still think that it is the best music label ever ... and they have been at it 40 plus years ... which the majority of labels never do or have! You have to love the music itself to do that ...
 
 
It kind of depends on your outlook, really!!! Although i'm not all that big on BN jazz, finding often to smooth and standard for my tastes (and they reliuctantly dipped their toes in JR/F well after the other labels did and retracted ASAP), I'd say it's somewhat less commercial than most of ECM's bigger sellers, which often comes close to elevator and new age music... Indeed a lot of Metheny or Abercrombie are close to being ultra-commercial for a certain crowd of fans.
 
True enough that ECM also specializes in musical adventures, taking risks for small unknown artistes to release some albums, but you can rarely call it experimental or avant-garde, right?
 
 
Mmmmm!!!... the word jazz was the slang for Black ex-slaves community for fu*king, which used it for their music (getting women in the mood by dancing)
 
 
 
 
 
 
 
l


-------------
my music collection increased tenfolds when I switched from drug-addicted musicians to crazy ones....



Posted By: idlero
Date Posted: 16 Aug 2011 at 9:15am
Originally posted by Sean Trane Sean Trane wrote:

True enough that ECM also specializes in musical adventures, taking risks for small unknown artistes to release some albums, but you can rarely call it experimental or avant-garde, right?
  l


I don't have any statistics but thisyear they released at least 2 albums which belong to the AG/experimental category






-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: idlero
Date Posted: 28 Oct 2011 at 6:48am


Thumbs Up





-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: Eetu Pellonpää
Date Posted: 03 Nov 2011 at 8:07pm
Have personally liked the ethreal style in ECM's catalogue line. Read an interview of Manfred Eicher from the local paper once, and he told that the moods from foggy surroundings of big lakes he spent his childhood would have created vision for him to the label's style. In addition of jazz, I appreciate their adventures to classical music, releasing the major part of Georgian Giya Katcheli's repertoire. From the jazz artists Ralph Towner has grewn as my own personal top favourite.


Posted By: Slartibartfast
Date Posted: 04 Nov 2011 at 10:10pm


Posted By: idlero
Date Posted: 27 Nov 2011 at 1:20pm


quite interesting





-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: Eetu Pellonpää
Date Posted: 16 Dec 2011 at 9:13am
Here's one sample of their classical music output, quite many Giya Kancheli's recordings released trough the ECM label.




Posted By: Kazuhiro
Date Posted: 16 Dec 2011 at 6:10pm
Originally posted by Eetu Pellonpää Eetu Pellonpää wrote:

Here's one sample of their classical music output, quite many Giya Kancheli's recordings released trough the ECM label.


 
Sorry, I was not able to watch this. The video which is irreproducible for me.


Posted By: snobb
Date Posted: 17 Dec 2011 at 11:48am
Giya Kancheli is greatest modern Georgian composer, lot of his works lay somewhere on the border of classics,modern and Georgian folklore music:

http://www.youtube.com/watch?v=3ItDzss0vfs&feature=related" rel="nofollow - http://www.youtube.com/watch?v=3ItDzss0vfs&feature=related
http://www.youtube.com/watch?v=7c4cSXPphHc" rel="nofollow - http://www.youtube.com/watch?v=7c4cSXPphHc

He wrote music for many films and theater plays as well

http://www.youtube.com/watch?v=x_YgtT4KePg&feature=related" rel="nofollow - http://www.youtube.com/watch?v=x_YgtT4KePg&feature=related


Posted By: snobb
Date Posted: 15 Sep 2012 at 6:28am
ECM released live album of cult following having  Swiss nu jazz  musician Nik Bartsch:

kind of post-jazz ?


Posted By: snobb
Date Posted: 02 Oct 2012 at 11:44am
Second double bassist Michael Formanek's album on ECM:


All stars modern jazz team:

http://www.ecmrecords.com/Catalogue/titlelist.php?acat=Artists%2FBerne+Tim%23%23Tim+Berne" rel="nofollow - Tim Berne  alto saxophone
http://www.ecmrecords.com/Catalogue/titlelist.php?acat=Artists%2FTaborn+Craig%23%23Craig+Taborn" rel="nofollow - Craig Taborn  piano
http://www.ecmrecords.com/Catalogue/titlelist.php?acat=Artists%2FFormanek+Michael%23%23Michael+Formanek" rel="nofollow - Michael Formanek  double-bass
http://www.ecmrecords.com/Catalogue/titlelist.php?acat=Artists%2FCleaver+Gerald%23%23Gerald+Cleaver" rel="nofollow - Gerald Cleaver  drums, shruti box

New ECM CD Release "Small Places" Concert Dates:

October 2nd and 3rd – http://jazzstandard.net/red/index.html" rel="nofollow -  The Jazz Standard , NYC with The Michael Formanek Quartet.
October 4th –  http://www.regattabarjazz.com/" rel="nofollow - The Regattabar , Boston, MA with The Michael Formanek Quartet.
October 5th –  http://openmusiccollective.org/upcoming-events/" rel="nofollow - Open Music Collective , Brattleboro, VT with The Michael Formanek Quartet.
October 6th –  http://www.thewindupspace.com/" rel="nofollow - The Windup Space , Baltimore, MD with The Michael Formanek Quartet.
October 7th –  http://www.arsnovaworkshop.com/" rel="nofollow - The Philadelphia Art Alliance , Philadelphia, PA. The Michael Formanek Quartet.
 

Michael Formanek Quartet European Tour
October 10-21st 2012

Oct 11 –  http://www.treibhaus.at/" rel="nofollow - Innsbruck Treibhaus , Austria
Oct 12 –  http://www.paradoxtilburg.nl/events/michael-formanektim-bernegraig-taborngerald-cleaver-usa/" rel="nofollow - Tilburg Paradox , Netherlands
Oct 13 –  http://www.lantarenvenster.nl/36-2874-Michael_Formanek_Quartet" rel="nofollow - Rotterdam Lantaaren-Venster , Netherlands
Oct 14 – Vilnius Jazzfestival, Lithuania
Oct 15 –  http://www.opderschmelz.lu/index.php?id=10;event=883" rel="nofollow - Dudelange Opderschmelz , Luxembourg
Oct 17 –  http://www.panicjazzclub.com/index.asp" rel="nofollow - Marostica Panic Jazzclub , Italy
Oct 19 –  http://www.diegems.de/pages/detail.php?event_ID=3846" rel="nofollow - Singen GEMS , Germany
Oct 20 –  http://www.jazzclubferrara.com/" rel="nofollow - Ferrara Jazzclub , Italy



Hope to hear them soon - in less then two weeks - live! Big smile


Posted By: snobb
Date Posted: 17 Oct 2012 at 4:17pm
Saw Michael Formanek trio (no mistake - in Vilnius they played as drummless trio, not quartet) playing live and after listened intensively to  their new album for some days. Great ECM release - interesting combination of American jazz and ECM aesthetics: extremely well controlled but still quite free inside sound. 

It's great to notice how ECM during some last years changing direction (very safely though) from polished,well calculated chamber jazz to more adventurous music. For sure they don't do fast moves, but after twenty or more years producing of lot and lot quality but faceless and bloodless sterile products they obviously feel they need changes to stay on the top.

New Formanek's album (second in row for ECM) is great example of such changes - music is still same ECM jazz, but less polished, less comfortable and more clever and adventurous. Don't expect freedom of solo Tim Berne's works though - on "Small Places" he is strictly controlled by project's formula, his function is to add very calculated amount of freer sax to well balanced brew. More adventurous is pianist Craig Taborn work ( on their live album's presentation he demonstrated some excellent improvs, unfortunately studio album is more safe and well balanced). It's interesting that during concert sound and music in whole sounded maximally close to what you can hear on studio album - almost minimum emotions, very professional,well calculated music, true ECM sound.

In all - one of best ECMalbum (at least from what I heard) from this year releases, enough accessible and nice to attract more conservative listener, but not too predictable or boring for those searching more adventurous music. Still for real experimental music I would recommend to search on Tim Berne solo albums.


Posted By: snobb
Date Posted: 20 Oct 2012 at 2:44am
Returning back to other significant ECM album, released earlier this year - Tim Berne's "Snakeoil", it's interesting to notice you wouldn't find there so-called "ECM sound".  During some last years German ECM label for me became in some sense associate with another German top-brand, Mercedes Benz. 

Great and expensive cars from 70s and 80s rulled the world, but nowaday being very respectable name Mercedes lost his sales and image mostly sleeping in old fame's bed. In Germany average new Mercedes owner is successful man in his ... late 60s! I see here strong analog with ECM label, which started as high-quality quite an adventurous music company, but during last few decades in fact just became very safe and often too polished quality but almost always too predictable and often openly boring music's home.

Some label's last time actions promise some changes - and I believe they need changes just to survive in modern world. Tim Berne's debut on ECM is recorded in NY with bass-less quartet including such unusual drummer for modern ECM as Ches Smith (Mr.Bungle, Marc Ribot,Fred Frith,etc). Result is really interesting, but I can understand lot of not-so-positive reviews on this album as well. It is not your typical sharp, explosive and noisy Berne.Some said this album is compromise to ECM aesthetics,and in some sense it is  But - no even traces of "ECM sound"! Berne plays complex music, great balance between composed and improvised, with some European chamber music influence.  Don't expect "old" Berne and typical ECM - it's something a bit new and different. 

Still whole album sounds more like first steps in new direction - I am really curious to hear what will come next.  



Posted By: Slartibartfast
Date Posted: 21 Oct 2012 at 12:59pm
My newest ECM acquisition is Jon Hassel's

http://www.amazon.com/Last-Night-Dropping-Clothes-Street/dp/B001O2MBBE/ref=sr_1_1?s=music&ie=UTF8&qid=1350842321&sr=1-1&keywords=jon+hassell+last+night+the+moon+came+dropping+its+clothes+in+the+street" rel="nofollow - Last Night the Moon Came Dropping Its Clothes in the Street



-------------


Posted By: snobb
Date Posted: 30 Oct 2012 at 4:05am
Great news for Garbarek's world fusion music fans - ECM just released archival material,coming from 1981 and recorded during concerts of Haden/Gismonti/Garbarek trio. Two albums with trio studio material were released in 1980 and 1981 by ECM (crediting Haden as leader).  



Posted By: snobb
Date Posted: 04 Nov 2012 at 7:24am
Christmas is not too far what mean it's time for Christmas trade. Labels know CDs are between popular gifts,so expect lot of new releases from known artists during november/december LOL.

First in line is new all-stars Nordic-British band's Food first studio release in 5 years:


Guests list is impressive - Nils Petter Molvaer and his regular guitarist Eivind Aarset among others


Posted By: snobb
Date Posted: 04 Nov 2012 at 1:42pm
Next (but far not last) ECM pre-Christmas release is Norwegian guitarist Eivind Aarset's new album "Dream Logic" (duet with electronics wizzard Jan Bang).Aarset's debut on ECM



Posted By: snobb
Date Posted: 05 Nov 2012 at 8:54am
Then, if you're not a big fan of modern (electronic) sound in your jazz, ECM have prepared more traditional release for you - new bassist Eberhard Weber live album. Weber is one of cornerstone of ECM fame with series of his albums from 70s , presenting some best examples of so-called "ECM sound". New release comes from different concerts,recorded between 1990-2007, solo or with participation of his glorious colaborator from ECM "golden age" reedist Jan Garbarek, and percussionist Michael DiPasqua.

Eberhard Weber | Résumé | ECM 2051


Will return with my impressions at first possibility when I will get one of three above mentioned albums.


Posted By: snobb
Date Posted: 09 Nov 2012 at 1:21pm
One more ECM fresh album (released a bit earlier this year) - Swedish pianist Bobo Stenton Trio's "Indicum". As usual high quality post bop and smooth jazz mix, fortunately closer to post bop - so not extremely polished, but enough comfortable. Very down tempo and relaxed but alive and professional enough for not beeing boring. As many other ECM standard albums not the music for adventurous listener, but regular "ECM sound" fan will like this album as well I expect.

Indicum


Posted By: snobb
Date Posted: 12 Nov 2012 at 2:49am
ECM seriously re-evaluated their vaults this year and as result released some interesting archival recordings. Jarrett "European trio"'s (with Garbarek) archival material with concert recordings were recorded earlier (not 100% new music, similar material was already previously released on few albums) on "Sleeper" - generally nice album illustrating late stage of Jarrett and Garbarek collaboration. Still not finally polished and not so smooth this albums represents one of cornerstone artists of contemporary jazz, they influenced sub-genre for decades ahead. 

Very soon after Keith Jarrett went solo, Garbarek participated in short-lived project with Charlie Haden and Brazilian pianist/guitarist Egberto Gismonti. In some sense this trio is Jarrett's "European quartet" with Gismonti instead of Jarrett and in trio format. Gismonti is obviously Jarrett influenced pianist, but with warmer and much more emotional sound. Originally trio release two studio albums in early 80s (under Haden as leader), quite ascetic and almost authentic folk tunes played by jazz musicians.

"Magico: Carta De Amor" is trio's live debut, coming from latest days of trio existing. Recorded in Munich's Amerika Haus in April 1981, recording sound quaility is great and comparing with studio material contains lot of improvisations. Still heavily folklore (from Latin American to North European) based music. From all fuss around this album it looks ECM see it as one of candidate for their 2012 most commercially successful release 



Posted By: snobb
Date Posted: 14 Nov 2012 at 2:12pm
It took some days and lot of listening to find a key to new Eivind Aarset  album.  Just duo with electronics wizard Jan Bang - very ambient processed guitar, some bass and aerial ascetic electronics. Almost absolutely rhythmless,with very free-form structure music is somewhere on the border between progressive ambient and jazz, but experienced ear can catch tunes and internal logical constructions. Very often jazz albums' titles mean nothing, not in this case though - "Dream Logic: is excellent tag for what you will hear on this album. 

Not a real jazz album in conservative sense , this album is very rare example of successful synthesis of jazz and ambient, very different from so-hated new age. Think about early Brian Eno great ambient albums played by jazz musicians and recorded in ECM tradition. 


Posted By: snobb
Date Posted: 16 Nov 2012 at 9:48am
Second of three new ECM releases - Eberhard Weber's "Resume" is collection of live solo bass recordings (1990-2007) reworked in studio. Weber even being one of ECM cornerstone musician at early 70s in fact always been very European jazzer - with strong chamber feel in his music and precisely composed music. So his bass solo recordings are far not free improvs on Barre Phillips or Barry Guy manner, more well composed tunes and songs. Additionally reworked in studio adding ascetic Weber's keyboards and Jan Garbarek's sax/flute (on 3 compositions),plus some Michael DiPasqua percussion. 

Very atmospheric music, a bit melancholic and right under ECM tradition



Posted By: snobb
Date Posted: 17 Nov 2012 at 4:25pm
Third fresh ECM album - Food's "Mercurial Balm"  contains British-Norwegian duo live recordings, seriously reworked in studio. Meditative/ambient improvs (sax+drums+electronics), relaxed,liquid often close to new age are spiced in studio adding some guitars (Eivind Aarset, Christian Fennesz,Prakash Sontakke) and Nils Petter Molvaer's trumpet. 

As a result the music is already traditional Nordic atmospheric ECM-style jazz, quite comfortable,but a bit too amorphous and not too much original.  Both Molvaer and Aarset solo albums are much more concentrated and original. Nice background listening though



Posted By: snobb
Date Posted: 27 Nov 2012 at 9:45am
One more ECM box set this year Jack DeJohnette Special Edition's 4 albums:



Posted By: snobb
Date Posted: 11 Feb 2013 at 2:03pm
One of the very early ECM 2013 release - Chris Potter label's debut (as collaborator he already played on ECM Dave Holland and Paul Motian albums). It looks during last few years ECM founded new success formula recording new generation of NY advanced jazzers with real peak in 2012. From a bit radical Tim Berne to more accessible Michael Formanek to nu-styled Greg Taborn, all ECM albums received good media and listeners popularity. Chris Potter's label debut is most traditional step of their NY jazz program, but far not too conservative or old-fashioned. Music here is not avant-garde jazz but adventurous post-bop, quite lyrical and very modern sounding. Pianist Greg Taborn is here giving signature keyboards sound of other related ECM NY-jazz series albums. Most accessible from above mentioned works, but far not boring



Posted By: snobb
Date Posted: 14 Feb 2013 at 1:41am
Another significant ECM February's release is new Polish trumpeter Tomasz Stanko double album. Stanko is well known as one of Europe's leading jazz musician and are ECM one of biggest names. I really like his early albums (pre-ECM and very early ECM releases), later he became  too predictable as for my taste. 

New album opens with relaxed down-tempo melancholic composition and I was afraid if all double album will sound on the same way it would be to difficult to listen it all and avoid to fall asleep. Fortunately there are some up-tempo and even high energy composition there, so generally album's music is well balanced. I believe Stanko contemporary music fans will find a lot of his trademark Slavic soulful melancholy music here, mixed with cool Nordic ECM atmosphere, for me up-tempo freer songs are pleasant surprise though. In all traditionally strong if too predictable album it hardly brings any new Stanko sides but his regular  listeners will enjoy it for sure.



Posted By: snobb
Date Posted: 24 Mar 2013 at 2:01pm
Young generation Italian pianist Giovanni Guidi debut on ECM (in trio format). Down tempo dreamy beautiful music, characteristic for ECM South European artists. Acoustic, aerial, not too sweet or melancholic - with clear but warm sound (opposite to ECM Nordic recordings),good chamber listening if you're fan of such genre

Giovanni Guidi Trio | City of Broken Dreams | ECM 2274


Posted By: idlero
Date Posted: 24 Mar 2013 at 2:50pm
^sounds like my kind of music 

-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: snobb
Date Posted: 25 Mar 2013 at 2:59am
Who said ECM plays too safe? Italian-Swiss trio "Third Reel" debut album - and right on ECM! Reeds-guitar-drums (bassless)trio music reminds Paul Motian and David Torn/Tim Berne's current works, accessible and adventurous at the same time. Guitar's sound gives lot of drive to generally mid-tempo music. Really strong debut!



listen here:

http://www.jazzmusicarchives.com/third-reel--mp3.aspx?id=2827" rel="nofollow - http://www.jazzmusicarchives.com/third-reel--mp3.aspx?id=2827


Posted By: dreadpirateroberts
Date Posted: 25 Mar 2013 at 3:29am
Both those sound great, Slava - I will investigat!

-------------
We are men of action. Lies do not become us.
http://www.jazzmusicarchives.com/dreadpirateroberts%28member%29.aspx?reviews=all/" rel="nofollow - Reviews...


Posted By: snobb
Date Posted: 25 Mar 2013 at 12:37pm
Originally posted by idlero idlero wrote:

^sounds like my kind of music 


Guidi played on some last Enrico Rava's albums


Posted By: snobb
Date Posted: 09 Apr 2013 at 3:21pm
ECM continue to release compilations series with great Paul Motian six-CD set, with recordings from 1972 to 1984, includes the albums “Conception Vessel”, “Tribute”, “Dance”, “Le Voyage”, “Psalm” and “It Should’ve Happened A Long Time Ago”.
 


Posted By: snobb
Date Posted: 11 Apr 2013 at 12:32am
Second ECM 2013 compilation presents Charles Lloyd early ECM recordings in a form of 5 CD set. It includes the albums “Fish Out Of Water”, “Notes from Big Sur”, “The Call”, “All My Relations” and “Canto”. All five albums were recorded in Oslo (between 1989 and 1996)

Quartets [5 CD]


Posted By: snobb
Date Posted: 12 Apr 2013 at 7:34am
New American pianist Craig Taborn album will be released just in a few weeks:



Posted By: idlero
Date Posted: 20 Apr 2013 at 8:01am
New Keith Jarrett Trio album to be released in May

Keith Jarrett / Gary Peacock / Jack DeJohnette | Somewhere | ECM 2200




Posted By: pinknote
Date Posted: 20 Apr 2013 at 9:45am
Listened some while ago Garbarek's "Afric Pepperbird" and surprised to see that ECM and Garbarek were indeed more adventurous back in the day... on the other hand, I also picked up Stanko's Balladyna seeing that it is considered... Free Jazz. Quite far from it, actually - which I would not mind if the album would have impressed me. Not the case.

Note to self: ought to try more ACT and Tzadik.


Posted By: idlero
Date Posted: 20 Apr 2013 at 4:31pm
Originally posted by pinknote pinknote wrote:

Listened some while ago Garbarek's "Afric Pepperbird" and surprised to see that ECM and Garbarek were indeed more adventurous back in the day... on the other hand, I also picked up Stanko's Balladyna seeing that it is considered... Free Jazz. Quite far from it, actually - which I would not mind if the album would have impressed me. Not the case.

Note to self: ought to try more ACT and Tzadik.

IMHO ACT is less adventurous then ECM, maybe you should try Clean Feed  


-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: snobb
Date Posted: 23 Apr 2013 at 8:15am
Originally posted by pinknote pinknote wrote:

Listened some while ago Garbarek's "Afric Pepperbird" and surprised to see that ECM and Garbarek were indeed more adventurous back in the day... on the other hand, I also picked up Stanko's Balladyna seeing that it is considered... Free Jazz. Quite far from it, actually - which I would not mind if the album would have impressed me. Not the case.Note to self: ought to try more ACT and Tzadik.


For more adventurous ECM music search on their very early releases, actually just from very early 70s ("African Pepperbird" is probably the best of them still). Check Paul Motian debut - different but adventurous at its own manner

Surprisingly, last few years' ECM releases (or better to say - some of them) returned their progressivity in part. Check newest Tim Berne, Michael Formanek,etc


Posted By: snobb
Date Posted: 23 Apr 2013 at 8:19am
Originally posted by idlero idlero wrote:


Originally posted by pinknote pinknote wrote:

Listened some while ago Garbarek's "Afric Pepperbird" and surprised to see that ECM and Garbarek were indeed more adventurous back in the day... on the other hand, I also picked up Stanko's Balladyna seeing that it is considered... Free Jazz. Quite far from it, actually - which I would not mind if the album would have impressed me. Not the case.Note to self: ought to try more ACT and Tzadik.

<div id="isChromeWebToolbarDiv" style="display:none">
IMHO ACT is less adventurous then ECM, maybe you should try Clean Feed  


agree very much - ACT is modern mainstream with strong world fusion influence, Clean Feed is probably most adventurous of European labels from last some years. From smaller non-conformists there are Not Two in Poland and NoBusiness in Lithuania.


Posted By: idlero
Date Posted: 28 Apr 2013 at 10:30am

Julia Hulsmann 3rd ECM release, more jazzy than the previous two, duemainly  to Tom Arthurs trumpet contribution


-------------
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ...
Ken Burns


Posted By: snobb
Date Posted: 29 Apr 2013 at 4:25am
Ketil Bjørnstad is well know to fans of neo-classic chamber jazz and melancholic soundtracks. "La Notte" is great news for them - classic music rooted piano plus lot of Italian movies soundtracks melancholy and sensibility. Still enough tasteful and with touches of adventure - in best ECM tradition.


listen here:

http://www.jazzmusicarchives.com/ketil-bjørnstad--mp3.aspx?id=2964" rel="nofollow - http://www.jazzmusicarchives.com/ketil-bjørnstad--mp3.aspx?id=2964


Posted By: snobb
Date Posted: 26 May 2013 at 4:30am
Swiss vocalist and ECM house artist Susanne Abbuehl released her new (already third) album on ECM label. Not a traditional jazz vocalist, her music lays somewhere between Joni Mitchell jazzy albums and early Jeanny Lee duets with Ran Blake dark balladry. Plus European chamber romanticism.



listen here:

http://www.jazzmusicarchives.com/susanne-abbuehl--mp3.aspx?id=3169" rel="nofollow - http://www.jazzmusicarchives.com/susanne-abbuehl--mp3.aspx?id=3169


Posted By: snobb
Date Posted: 27 May 2013 at 7:58am
Best Keith Jarrett band of last three decades - his trio with Gary Peacock and Jack DeJohnette - released live album of standards, recorded in Switzerland in 2009. Quality post-bop album - better than many Jarrett's solo piano or contemporary jazz releases, to be honest it could be recorded three decades ago or yesterday. Jarrett being a highest level pianist is really good manager as well: you can easily find five or ten similar albums in his huge discography, but he knows the real fans will buy this one as well




listen here:


http://www.jazzmusicarchives.com/keith-jarrett--mp3.aspx?id=3170" rel="nofollow - http://www.jazzmusicarchives.com/keith-jarrett--mp3.aspx?id=3170


Posted By: snobb
Date Posted: 24 Jun 2013 at 2:40am
Gary Peacock is stated on this duo album not without reason - quite soft and melancholic, very much in "classic ECM" tradition music is closer to Peacock last decades works than to complex high energy Marilyn Crispell's music. Still some knotty moments are presented here but for more advanced music search for Crispell's solo works

GARY PEACOCK - Azure (with Marilyn Crispell) cover

listen here:

http://www.jazzmusicarchives.com/gary-peacock--mp3.aspx?id=3242" rel="nofollow - http://www.jazzmusicarchives.com/gary-peacock--mp3.aspx?id=3242



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