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Jazz - Verschijnt op 9 april 2021 | ECM

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Jazz - Verschijnt op 9 april 2021 | ECM

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Jazz - Verschenen op 6 november 2020 | ECM

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Dino Saluzzi on record is rather uncommon, and Dino Saluzzi playing his bandoneon solo is even rarer.So, Albores is a real treat for aficionados of the Argentinian master. Recorded between February and June 2019 in his Buenos Aires studio, these nine tracks demonstrate how, even with the simplest of instruments, his music is an infinite wellspring of stories. A musical storyteller, Saluzzi renders the most intimate, even personal stories accessible to all. For example, he recounts the work of his composer father Cayetano Saluzzi on Don Caye and on Adiós Maestro Kancheli he pays homage to the Georgian composer Giya Kancheli who died in 2019 and whose repertoire he covered in 2010 on Giya Kancheli: Themes From The Songbook with Gidon Kremer and Andrei Pushkarev. More so than on his previous solo albums released under ECM such as Kultrum (1982) and Andina (1988), Albores completely breaks down the borders between Argentine folklore, jazz, contemporary music and improvised music. The minimalist soliloquies resonate his voice, and his bandoneon seems to play to the rhythm of passing time, drawing the contours of the end of a road that inevitably looms closer at the age of 85. Even in those moments of silence and space in the music, Saluzzi is as charismatic and untouchable as a bard. © Marc Zisman/Qobuz
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Jazz - Verschenen op 6 november 2020 | Pirouet Records

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Jazz - Verschenen op 6 november 2020 | ECM

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Dino Saluzzi on record is rather uncommon, and Dino Saluzzi playing his bandoneon solo is even rarer.So, Albores is a real treat for aficionados of the Argentinian master. Recorded between February and June 2019 in his Buenos Aires studio, these nine tracks demonstrate how, even with the simplest of instruments, his music is an infinite wellspring of stories. A musical storyteller, Saluzzi renders the most intimate, even personal stories accessible to all. For example, he recounts the work of his composer father Cayetano Saluzzi on Don Caye and on Adiós Maestro Kancheli he pays homage to the Georgian composer Giya Kancheli who died in 2019 and whose repertoire he covered in 2010 on Giya Kancheli: Themes From The Songbook with Gidon Kremer and Andrei Pushkarev. More so than on his previous solo albums released under ECM such as Kultrum (1982) and Andina (1988), Albores completely breaks down the borders between Argentine folklore, jazz, contemporary music and improvised music. The minimalist soliloquies resonate his voice, and his bandoneon seems to play to the rhythm of passing time, drawing the contours of the end of a road that inevitably looms closer at the age of 85. Even in those moments of silence and space in the music, Saluzzi is as charismatic and untouchable as a bard. © Marc Zisman/Qobuz
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Jazz - Verschenen op 30 oktober 2020 | ECM

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On the 21st October, 2020, nine days before the release of Budapest Concert, Keith Jarrett revealed to the New York Times that he had fallen victim to two strokes in February and May of 2018. These unfortunately left him partially paralysed. "The most I'm expected to recover in my left hand is possibly the ability to hold a cup in it" lamented the 75-year-old pianist, who will likely never be able to perform again. In his vast discography there are many live recordings. For Jarrett, the concert recordings hold just as much value as those done in the studio, if not more...  On the 3rd July, 2016, the American was alone onstage in the Bela Bartok concert hall in Budapest. As is often the case for Jarrett, the material he plays here has no title and is instead divided into parts, here numbered from 1 to 12, just like on his Munich 2016 album which was released in November 2019 and recorded on the 16th of July 2016, a few days after his Budapest performance. For a Bartók fanatic like Jarrett, who on his mother's side is himself a great-grandson of Hungarian emigrants, this performance has a special flavour to it. Unsurprisingly, Jarrett's improvisational prowess is on show here, as well as his ability to make his piano swing like his elders and improvise in rhythmically and harmonically complex phrases with ease. A tsunami of notes (the middle of Part III draws from his 1977 Survivors' Suite) precedes a blues theme that has been reworked from scratch. A folkloric standard replaces an overtly classical construction. And so on and so forth. The parts don’t really communicate with each other but Keith Jarret’s ever fascinating style keeps the listener engaged with his sporadic stylistic decisions. As in Munich, this fusion creation closes with the standards It’s a Lonesome Old Town, popularised by Sinatra, and Answer Me, popularised by Nat King Cole. This is his way of reminding us where his heritage lies, even if it has been audaciously turned upside down here... An astounding new journey from Jarrett. © Marc Zisman/Qobuz
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Jazz - Verschenen op 30 oktober 2020 | ECM

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Jazz - Verschenen op 16 oktober 2020 | ECM

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ECM is, without a doubt, the record label that enjoys blurring the lines between jazz and classical the most. So it’s hardly surprising that we find Anja Lechner and François Couturier on this album. Throughout Lontano they sculpt a sound with delicacy and finesse, using their respective experiences, travels, education and imagination to craft a superb borderless score. The German cellist and French pianist already worked together in 2014, linking East and West by revisiting themes by Gurdjieff, Komitas and Mompou. They also collaborated in the Tarkovsky Quartet and in the Il Pergolese project. Lontano’s repertoire is mainly original aside from a few glimpses of Johann Sebastian Bach, Henri Dutilleux, Giya Kancheli and Anouar Brahem (whose Vague - E la nave va was written with Couturier in 2006). Despite the mountain of references, Lechner and Couturier speak a language that is truly their own. It’s like a small chamber symphony nourished by classical, contemporary, folk and jazz music, as well as cinema and literature. Pure grace. © Marc Zisman/Qobuz
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Jazz - Verschenen op 16 oktober 2020 | ECM

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ECM is, without a doubt, the record label that enjoys blurring the lines between jazz and classical the most. So it’s hardly surprising that we find Anja Lechner and François Couturier on this album. Throughout Lontano they sculpt a sound with delicacy and finesse, using their respective experiences, travels, education and imagination to craft a superb borderless score. The German cellist and French pianist already worked together in 2014, linking East and West by revisiting themes by Gurdjieff, Komitas and Mompou. They also collaborated in the Tarkovsky Quartet and in the Il Pergolese project. Lontano’s repertoire is mainly original aside from a few glimpses of Johann Sebastian Bach, Henri Dutilleux, Giya Kancheli and Anouar Brahem (whose Vague - E la nave va was written with Couturier in 2006). Despite the mountain of references, Lechner and Couturier speak a language that is truly their own. It’s like a small chamber symphony nourished by classical, contemporary, folk and jazz music, as well as cinema and literature. Pure grace. © Marc Zisman/Qobuz
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Jazz - Verschenen op 12 juni 2020 | ECM

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Rather than contempt, familiarity breeds a comfortable groove on Swallow Tales, a shared vision for a group of notable tunes written by the venerable bass veteran Steve Swallow. This straight-ahead conversation between old friends and musical partners was recorded in a brief four hours; the result is a flavorful snapshot of a long and fruitful relationship now over 40 years old between guitarist John Scofield and his mentor Swallow. The pair is accompanied by Scofield's go-to drummer, the versatile Bill Stewart, whom the guitarist has played with in a number of different musical contexts. Energized by the easy charm of musical instinct, this session opens with one of Swallow's most beautiful ballads, "She Was Young," before shifting to "Falling Grace," where Stewart's natural and infallible rhythms support Swallow who sweeps into his signature broken time bass style. Scofield stretches out and shows his sense of invention and flair for concise solos in a fast take "Portsmouth Figurations," a tune he first heard on one of his earliest album influences, Gary Burton's Duster. The most famous number "Eiderdown," (also the first tune Swallow ever wrote and has been covered by the likes of Chick Corea, Bill Evans and Phil Woods), receives a spirited run through with Scofield, who says he once struggled to master these changes. He deftly travels up and down the guitar neck, preferring high notes, while Stewart takes an orderly, articulate solo. Another oft-recorded tune, the waltzy "Hullo Bolinas," is taken at a brisk pace while the bassist's playful borrowing from Cole Porter—"In F"—also features another measured, tasteful solo from Stewart. A reunion more interested in bringing fresh insights to well-known repertoire than pushing envelopes, Swallow Tales is the sound of masters at work. © Robert Baird/Qobuz
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Jazz - Verschenen op 12 juni 2020 | ECM

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Rather than contempt, familiarity breeds a comfortable groove on Swallow Tales, a shared vision for a group of notable tunes written by the venerable bass veteran Steve Swallow. This straight-ahead conversation between old friends and musical partners was recorded in a brief four hours; the result is a flavorful snapshot of a long and fruitful relationship now over 40 years old between guitarist John Scofield and his mentor Swallow. The pair is accompanied by Scofield's go-to drummer, the versatile Bill Stewart, whom the guitarist has played with in a number of different musical contexts.  Energized by the easy charm of musical instinct, this session opens with one of Swallow's most beautiful ballads, "She Was Young," before shifting to "Falling Grace," where Stewart's natural and infallible rhythms support Swallow who sweeps into his signature broken time bass style. Scofield stretches out and shows his sense of invention and flair for concise solos in a fast take "Portsmouth Figurations," a tune he first heard on one of his earliest album influences, Gary Burton's Duster.  The most famous number "Eiderdown," (also the first tune Swallow ever wrote and has been covered by the likes of Chick Corea, Bill Evans and Phil Woods), receives a spirited run through with Scofield, who says he once struggled to master these changes. He deftly travels up and down the guitar neck, preferring high notes, while Stewart takes an orderly, articulate solo. Another oft-recorded tune, the waltzy "Hullo Bolinas," is taken at a brisk pace while the bassist's playful borrowing from Cole Porter—"In F"—also features another measured, tasteful solo from Stewart. A reunion more interested in bringing fresh insights to well-known repertoire than pushing envelopes, Swallow Tales is the sound of masters at work. © Robert Baird/Qobuz
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Jazz - Verschenen op 8 mei 2020 | ECM

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Jazz - Verschenen op 1 november 2019 | ECM

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Since 1971, Keith Jarrett has been signed to ECM, which has proven to be one of the strongest and most productive relationships between an artist and their label ever. On the 16th July, 2016, the American pianist was performing the final concert of his summer tour in Munich, the stronghold of producer Manfred Eicher. On that evening, Jarrett gave the Bavarian audience an improvisational torrent, which he does so well. However, unlike these same exercises which he has performed over the decades, he delivers them here in short segments. Gone are the 20/30-minute-long tracks like on the famous Köln Concert of 1975, the Sun Bear Concerts of 1976, the Paris Concert of 1990 or the Vienna Concert of 1992! Those from Munich 2016 are separated into twelve parts and give an overview of the multifaceted tastes of their author, a (quite literally) “extra” “ordinary” musician, who can make his instrument swing like the old masters, but can also express himself with musical phrases which are rhythmically and harmoniously very complex, even daring. Over the course of the 86 minutes of Munich 2016, a juggling of silences is favoured over frenzied notes, before a bluesy motif falls away to reveal a chamber music miniature. As the minutes unfold, Jarrett continues to toe the line separating jazz and classical music. He ends this unparalleled tour de force with a fresh take on three classics (Answer Me My Love by Nat King Cole, It’s a Lonesome Old Town made famous by Sinatra and Somewhere Over the Rainbow straight out of The Wizard of Oz), which flawlessly bring this ocean of sound to an end. It is also funny to note that this particular Munich concert will be remembered for reasons beyond the music. After his cover of Over the Rainbow, and in the middle of a standing ovation, some of the audience members were taking pictures of the pianist. Furious, he grabs the microphone and says: “I’m not going to talk about the assholes who are aiming their smartphones at me. I just have one question for them: why did you come?” © Marc Zisman/Qobuz
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Jazz - Verschenen op 1 november 2019 | ECM

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Jazz - Verschenen op 25 oktober 2019 | ECM

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Jazz - Verschenen op 25 oktober 2019 | ECM

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Jazz - Verschenen op 18 oktober 2019 | ECM

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Jazz - Verschenen op 18 oktober 2019 | erlkoenig records

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Jazz - Verschenen op 4 oktober 2019 | ECM

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Jazz in het magazine