Albums

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Jazz - Released May 18, 2018 | ECM

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A member of ECM since the early 1980s, Steve Tibbetts is indivisible from the famous sound of the Munich label. And while his musical universe features all of its markers (space, silence, oneirism, ambient), the singularity of his guitar has always remained preserved. Life Of is the American’s ninth album for ECM, and a sort of sequel to his 2010 Natural Cause. With his 12-string Martin acoustic guitar, Tibbetts plays out an almost Zen ceremony featuring exotic and dreamy sounds created with his friend Marc Anderson (over 35 years of collaboration!), percussionist and Hang player, and cellist Michelle Kinney. An original soundtrack in line with his Midwest and more remote locations, such as Bali and Nepal, where he often spends time. Spirituality holds centre stage throughout this album, which is as contemplative as it is deep. A viscerally meditative jazz’n’world album that evades any attempt at categorisation. © Max Dembo/Qobuz
£13.49

Jazz - Released May 18, 2018 | ECM

Booklet
A member of ECM since the early 1980s, Steve Tibbetts is indivisible from the famous sound of the Munich label. And while his musical universe features all of its markers (space, silence, oneirism, ambient), the singularity of his guitar has always remained preserved. Life Of is the American’s ninth album for ECM, and a sort of sequel to his 2010 Natural Cause. With his 12-string Martin acoustic guitar, Tibbetts plays out an almost Zen ceremony featuring exotic and dreamy sounds created with his friend Marc Anderson (over 35 years of collaboration!), percussionist and Hang player, and cellist Michelle Kinney. An original soundtrack in line with his Midwest and more remote locations, such as Bali and Nepal, where he often spends time. Spirituality holds centre stage throughout this album, which is as contemplative as it is deep. A viscerally meditative jazz’n’world album that evades any attempt at categorisation. © Max Dembo/Qobuz
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Contemporary Jazz - Released May 4, 2018 | ECM

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Once again, the spine, if not the heart of Awase isn’t Nik Bärtsch’s piano. Because whenever the Zurich musician gets his band Ronin going, he builds his music as well as his improvisations around Kaspar Rast’s XXL ability on the drums. As often with this self-proclaimed zen funk gang, the hypnotic power of rhythmic motifs gives a supreme unity to this jazz that sounds like no other. The term Awase comes from martial arts, meaning “moving together” in the sense of matching energies. A fitting metaphor for the dynamic precision, tessellated grooves and balletic minimalism of Bärtsch’s crew. Six years have passed since Ronin’s last release, a live recording in Europe and Japan between 2009 and 2011. In the meantime, the quintet has turned into a quartet and integrated a new bassist, Thomy Jordi. A completely new look for Ronin version 2018… A mutation that delivers a new form of freedom and flexibility in their approach to compositions. Their interactions and energy seem to compound! Once again it’s very hard to resist to the hypnotic power of the motifs they string together with superb fluidity over the 65 minutes of Awase. © Max Dembo/Qobuz
£11.99

Contemporary Jazz - Released May 4, 2018 | ECM

Booklet
Once again, the spine, if not the heart of Awase isn’t Nik Bärtsch’s piano. Because whenever the Zurich musician gets his band Ronin going, he builds his music as well as his improvisations around Kaspar Rast’s XXL ability on the drums. As often with this self-proclaimed zen funk gang, the hypnotic power of rhythmic motifs gives a supreme unity to this jazz that sounds like no other. The term Awase comes from martial arts, meaning “moving together” in the sense of matching energies. A fitting metaphor for the dynamic precision, tessellated grooves and balletic minimalism of Bärtsch’s crew. Six years have passed since Ronin’s last release, a live recording in Europe and Japan between 2009 and 2011. In the meantime, the quintet has turned into a quartet and integrated a new bassist, Thomy Jordi. A completely new look for Ronin version 2018… A mutation that delivers a new form of freedom and flexibility in their approach to compositions. Their interactions and energy seem to compound! Once again it’s very hard to resist to the hypnotic power of the motifs they string together with superb fluidity over the 65 minutes of Awase. © Max Dembo/Qobuz
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£7.99£13.49

Vocal Jazz - Released April 27, 2018 | ECM

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS
After two albums at the head of a rather jazzy quartet, Elina Duni is now releasing a collection of songs under her own name that evoke love as well as loss and departure. Recorded in the studios La Buissonne in the south of France in July 2017 under the artistic direction of Manfred Eicher from ECM, Partir is undeniably her most personal opus. Her most intimate too. In this album entirely written and produced on her own, the singer from Tirana plays on the piano, on the guitar and on percussions in tunes drawing from a multitude of sources, from folk to popular music: traditional songs from Albania, Kosovo, Armenia, Macedonia, Switzerland and Arabic Andalusia, but also Jacques Brel’s Je ne sais pas, Alain Oulman’s Meu Amor, Domenico Modugno’s Amara Terra Mia or even Let Us Dive In by Duni herself. To highlight her voice’s expressiveness, she has logically opted for sleek arrangements. In this context, her singing is beautifully emphasised and becomes the common theme throughout her electric repertoire. An organ that can be poignant at times, particularly when she sings about suffering, in a sort of Balkan fado, like a European blues following in the footsteps of Billie Holiday − the ultimate ambassador of human flaws, whom she admires above everything else! The listener comes out dazed by the captivating beauty of what turns out to be Elina Duni’s most stunning album so far… © Marc Zisman/Qobuz
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Vocal Jazz - Released April 27, 2018 | ECM

Booklet
After two albums at the head of a rather jazzy quartet, Elina Duni is now releasing a collection of songs under her own name that evoke love as well as loss and departure. Recorded in the studios La Buissonne in the south of France in July 2017 under the artistic direction of Manfred Eicher from ECM, Partir is undeniably her most personal opus. Her most intimate too. In this album entirely written and produced on her own, the singer from Tirana plays on the piano, on the guitar and on percussions in tunes drawing from a multitude of sources, from folk to popular music: traditional songs from Albania, Kosovo, Armenia, Macedonia, Switzerland and Arabic Andalusia, but also Jacques Brel’s Je ne sais pas, Alain Oulman’s Meu Amor, Domenico Modugno’s Amara Terra Mia or even Let Us Dive In by Duni herself. To highlight her voice’s expressiveness, she has logically opted for sleek arrangements. In this context, her singing is beautifully emphasised and becomes the common theme throughout her electric repertoire. An organ that can be poignant at times, particularly when she sings about suffering, in a sort of Balkan fado, like a European blues following in the footsteps of Billie Holiday − the ultimate ambassador of human flaws, whom she admires above everything else! The listener comes out dazed by the captivating beauty of what turns out to be Elina Duni’s most stunning album so far… © Marc Zisman/Qobuz
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Jazz - Released April 6, 2018 | ECM

Booklet
For his debut on the ECM label, Estonian pianist Kristjan Randalu surrounded himself with American guitarist Ben Monder and Finnish drummer Markku Ounaskari. A combination suggested by Manfred Eicher, the producer of this album recorded at La Buissonne in the summer of 2017. Absence is first and foremost a beautiful introduction to the ample and rather lyrical style of play of the musician who says he’s been most influenced by his fellow countrymen and composers Erkki-Sven Tüür and Tõnu Kõrvits. A former student of John Taylor and Django Bates, Randalu studied classical music for a long time before turning his attention to jazz. A knowledge that transpires in his piano as well as his writing. His impressive technique and the narrative power of his improvisations give his musical universe a multitude of colours. A palette that Ben Monder – a very much-underrated guitarist – and Markku Ounaskari take hold of in unison. © Max Dembo/Qobuz
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Jazz - Released April 6, 2018 | ECM

Hi-Res Booklet
For his debut on the ECM label, Estonian pianist Kristjan Randalu surrounded himself with American guitarist Ben Monder and Finnish drummer Markku Ounaskari. A combination suggested by Manfred Eicher, the producer of this album recorded at La Buissonne in the summer of 2017. Absence is first and foremost a beautiful introduction to the ample and rather lyrical style of play of the musician who says he’s been most influenced by his fellow countrymen and composers Erkki-Sven Tüür and Tõnu Kõrvits. A former student of John Taylor and Django Bates, Randalu studied classical music for a long time before turning his attention to jazz. A knowledge that transpires in his piano as well as his writing. His impressive technique and the narrative power of his improvisations give his musical universe a multitude of colours. A palette that Ben Monder – a very much-underrated guitarist – and Markku Ounaskari take hold of in unison. © Max Dembo/Qobuz
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Jazz - Released March 23, 2018 | ECM

Booklet
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Jazz - Released March 23, 2018 | ECM

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Jazz
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Jazz - Released March 23, 2018 | ECM

Hi-Res Booklet
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Jazz - Released March 23, 2018 | ECM

Booklet

Jazz - Released January 26, 2004 | ECM

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Jazz - Released March 9, 2018 | ECM

£16.49

Jazz - Released March 2, 2018 | ECM

Booklet
"Another live album from Jarrett's trio?" It's hard not to let out a little yelp as the Allentown pianist continues his apparently-infinite discographic march, aided by drummer Jack DeJohnette and bassist Gary Peacock. But after listening to the first-ever release of this concert from 14 November 1998 at Newark's New Jersey Performing Arts Center, you might start to see where producer Manfred Eicher was coming from when he decided to bring this one out. Keith Jarrett even said himself: “I was amazed to hear how well the music worked. For me, it's not only a historical document, but a truly great concert.” As ever, the three friends move quickly through a few classics from the Great American Songbook but also a few wonders by John Coltrane ( Moment’s Notice), Bud Powell (Bouncin' With Bud) and Sonny Rollins (Doxy). Above all, that evening signalled that Keith Jarrett was back in business after two years spent offstage for health reasons. From 1996 to 1998 the pianist was suffering from Chronic fatigue syndrome, or CFS, and hearing his return to form here is a real treat. Let's resist the temptation to start waxing lyrical about the fascinating complicity between Jarrett and his rhythm section, and just say that After The Fall is a record that speaks with one voice. It's an original voice, as is the re-reading of Bud Powell that opens the concert - and swing proudly reigns at its heart. This world first is also a ray of sunshine and a burst of infectious joy. As ever, DeJohnette and Peacock merrily create jaw dropping havoc on Bouncin' With Bud... In short, it would have been a crime to leave these tapes in the archive. © Max Dembo/Qobuz
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Jazz - Released March 2, 2018 | ECM

Hi-Res Booklet
"Another live album from Jarrett's trio?" It's hard not to let out a little yelp as the Allentown pianist continues his apparently-infinite discographic march, aided by drummer Jack DeJohnette and bassist Gary Peacock. But after listening to the first-ever release of this concert from 14 November 1998 at Newark's New Jersey Performing Arts Center, you might start to see where producer Manfred Eicher was coming from when he decided to bring this one out. Keith Jarrett even said himself: “I was amazed to hear how well the music worked. For me, it's not only a historical document, but a truly great concert.” As ever, the three friends move quickly through a few classics from the Great American Songbook but also a few wonders by John Coltrane ( Moment’s Notice), Bud Powell (Bouncin' With Bud) and Sonny Rollins (Doxy). Above all, that evening signalled that Keith Jarrett was back in business after two years spent offstage for health reasons. From 1996 to 1998 the pianist was suffering from Chronic fatigue syndrome, or CFS, and hearing his return to form here is a real treat. Let's resist the temptation to start waxing lyrical about the fascinating complicity between Jarrett and his rhythm section, and just say that After The Fall is a record that speaks with one voice. It's an original voice, as is the re-reading of Bud Powell that opens the concert - and swing proudly reigns at its heart. This world first is also a ray of sunshine and a burst of infectious joy. As ever, DeJohnette and Peacock merrily create jaw dropping havoc on Bouncin' With Bud... In short, it would have been a crime to leave these tapes in the archive. © Max Dembo/Qobuz
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Jazz - Released March 2, 2018 | ECM

Hi-Res Booklet
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Jazz - Released March 2, 2018 | ECM

Booklet
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Jazz - Released February 23, 2018 | ECM

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Jazz - Released February 16, 2018 | ECM

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Jazz

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