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Jazz - Verschenen op 28 november 2014 | ECM

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica - The Qobuz Ideal Discography - Indispensable JAZZ NEWS
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Jazz - Verschenen op 16 oktober 2015 | ECM

Hi-Res Booklet Onderscheidingen Indispensable JAZZ NEWS - L'album du mois JAZZ NEWS - 5 Sterne Fono Forum Jazz
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Jazz - Verschenen op 4 september 2009 | ECM

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Jazz - Verschenen op 6 november 2015 | ECM

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Jazz - Verschenen op 1 november 1976 | ECM

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Jazz - Verschenen op 4 september 2009 | ECM

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Jazz - Verschenen op 13 juli 2012 | ECM

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica - Indispensable JAZZ NEWS - Stereophile: Recording of the Month
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Jazz - Verschenen op 2 oktober 2009 | ECM

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Jazz - Verschenen op 6 september 1982 | ECM

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Jazz - Verschenen op 30 november 2012 | ECM

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Jazz - Verschenen op 1 november 1976 | ECM

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Jazz - Verschenen op 19 januari 2018 | ECM

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Behind the intriguing name Time Is A Blind Guide hides a collective driven by Thomas Strønen. With Lucus, the drummer and composer from Oslo offers a revised version of this acoustic band, in the reduced form of a quintet showcasing the Japanese pianist Ayumi Tanaka. She talks about her improvisation work as an attempt to create associative links between Japan and Norway, a trend that the Norwegian encourages throughout this record with a rather radiant orchestral writing that highlights a concrete sense of space. As in the first eponymous album of Time Is A Blind Guide released in 2015, you’ll find here deeply moving interventions by string experts, the quintet potentially including within itself both a string trio and a piano trio. By the finesse of his production, Manfred Eichner manages to transcribe every single detail of grain and texture of the band’s sound universe, notably seizing the oneiric halo of its harmonics in the exceptional acoustics of the Auditorio Stelio Molo in Lugano. It’s a sound that is one with this music that owes as much to jazz as it does to improvised music, to folklore and to classical music from the 20th century. Produced by Mr. ECM himself, Lucus gathers together Strønen and Tanaka, Håkon Aase on violin, Lucy Railton on violoncello and Ole Morten Vågan on double bass. © CM/Qobuz
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Jazz - Verschenen op 3 november 2017 | ECM

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
The fluidity, as well as the evidence of Maciej Obara’s saxophone must not significantly hide the depth of his music. With Unloved, the Polish saxophonist pens a ninth album that is at first glance very lyrical but that first and foremost leans on the exchanges with the other musicians from his quartet: the pianist Dominik Wania, the bass player Ole Morten Vågan and the drummer Gard Nilssen. In the Rainbow Studio in Oslo where they shut themselves away in January 2017 with producer Manfred Eicher, the four men have serenely juggled with space and silences. Aside from the eponymous title written by the great Krysztof Komeda for the movie from Janusz Nasfeter bearing the same name, all the themes from this disc are penned by Obara. Themes that the saxophonist describes as being only outlines from which the sound of the quartet expresses itself in complete freedom. “My friends are incredible improvisers. I love their ability to evolve in complete freedom in open spaces and the way in which they sculpt them while giving them the colors I have in mind. It’s a bit like composing in real time.” © CM/Qobuz
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Jazz - Verschenen op 1 maart 1976 | ECM

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
For a first attempt, it's a masterstroke! Released in 1976, Bright Size Life was Pat Metheny's first record as a leader. Just 21 years old, the American guitarist already showed a real maturity as a virtuosic composer and performer. He joined forces with Jaco Pastorius on bass and Bob Moses on a flexible and dynamic drum kit. These ideal accomplices allowed him to develop what would later become his trademark sound: a fluid and often lyrical style. The wide, open spaces of his native Midwest were reflected in his guitar playing as well as in the track titles (Missouri Uncompromised, Midwestern Nights Dream and Omaha Celebration). A great wisdom emerged from this clear and beautiful album (Jim Hall's influence is evident) which closes with Round Trip/Broadway Blues, an unexpected medley of two pieces by Ornette Coleman, one of Metheny's idols, with whom he would go on to record Song X ten years later. But underneath this calm surface, this young virtuoso wanted to change the world. He explained this in an interview with Just Jazz Guitar in 2001: “Even though Bright Size Life may not sound like it, we were pissed off. That album is a very strong political statement from us on how we felt about what our instruments needed to do to remain relevant in jazz. Listening to it now, with 25 years of perspective, I think our message got across, I believe we did change things. That album was a manifesto of some very specific things that we felt strongly about, in terms of harmony, in terms of interaction, in terms of the sound of the instruments. You have to listen to that album to hear where we were at that time.” © Marc Zisman/Qobuz
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Jazz - Verschenen op 2 september 2016 | ECM

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
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Jazz - Verschenen op 19 januari 2018 | ECM

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
With a huge variety of sources and influences, Bobo Stenson’s music is never limited to a single territory. He’s not really the kind of Swedish pianist who throws himself into the wide range of improvised music, be it jazz or other genres. He is very much in line with the ECM aesthetic, the label on which he has been one of the most prominent musicians for over four decades… His Swedish trio (Anders Jormin on the double bass and Jon Fält on the drums) makes a stand in the ever so indecisive world of 2017 with this Contra La Indecisión, an album as magnificent as it is decisive. Staying true to themselves, the group supports the originality of their approach here. In addition to collective improvisations and original compositions signed by Stenson and Jormin, we find on the menu the piece which gives the album its name, composed by the Cuban Silvio Rodríguez as well as the adaption of a Slovak folk song signed by Béla Bartók, an extract from Cançons I Danses by Federico Mompou and even the famous Elégie by Erik Satie! The physical and mental force of the trio and the individuality of each of its members is such that all these influences come to blend coherently into an organic whole of profound originality. With Stenson’s lyrical touch as well as Jordan’s folk tinged phrasing make Contra La Indecisión as exquisite as possible… © MZ/Qobuz
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Jazz - Verschenen op 1 februari 2019 | ECM

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His double bass has often featured on albums by artists such as Tord Gustavsen, Trygve Seim, Mathias Eick and Jakob Young. But Mats Eilertsen has always kept some time free for his own projects. With Harmen Fraanje on piano and Thomas Strønen on drums, the Norwegian double bass player has once again unveiled his understated poetry on this superb record And Then Comes The Night, the third album by the ten-year-old trio. Following Sails Set (2013), which was released on the brilliant label Hubro, this record was recorded in Lugano in May 2018 and reveals a group who are at the height of their complicity. Fans of producer Manfred Eicher will find all the ingredients of ECM works here, especially since the group come from Scandinavia, but the trio still manage to add a fresh twist to the recipe. And Then Comes The Night is not just your umpteenth album in the dense ECM catalogue. Eilertsen and his accomplices give pride of place to their improvisations. And by sticking relatively closely to the melodic framework, they achieve a tone and a sound of their own. © Marc Zisman/Qobuz
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Jazz - Verschenen op 25 januari 2019 | ECM

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
Even if his name has appeared on multiple ECM albums (John Abercrombie, Marc Johnson, Steve Kuhn, Paul Motian, etc.), Joe Lovano has until now never had the chance to be the leader of a record for Manfred Eicher’s label. At 66 years old, the saxophonist from Cleveland is finally the boss on Trio Tapestry which has been put together with pianist Marilyn Crispell and drummer Carmen Castaldi. It’s a formation without a double bass that offers the inner pow-er of an orchestra. Less voluble than usual, here Lovano throws himself into quite intimate narratives. “This trio”, he stated, “is a melodic, harmonic and rhythmic musical tapestry which creates moods and atmospheres.” This group is above all an ambassador for a colorful style of jazz. Spirituality and calmness underline each improvisation. We continue to wonder as to why Crispell isn’t a more well-know and praised musician. Following in the footsteps of Paul Bley and Cecil Taylor, she brings her piano into contemporary music territory laced with lyricism and proves that she is an essential member of this group which is equipped with a stunning creative force. © Marc Zisman/Qobuz
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Jazz - Verschenen op 26 april 2019 | ECM

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Jazz - Verschenen op 19 januari 2018 | ECM

Hi-Res Booklet Onderscheidingen 3F de Télérama - Choc de Classica - 5 Sterne Fono Forum Jazz
Like every great instrument blower, John Surman has a sound you’ll recognize from the first breath. A sound which is as much fed by the culture of his British motherland (local folklore is one of the components of his music) as by the culture from other countries. The saxophonist and clarinetist has crossed paths with pianist Nelson Ayres—well-known by the fans of Brazilian jazz for his work with Airto Moreira and Milton Nascimento—during a tour in South America. And it’s in Oslo that he met the American vibraphonist Rob Waring, an expat in Scandinavia… With Invisible Threads, the three men gathered to perform a programme mostly composed of Surman’s original pieces, recorded in Oslo in July 2017, under the artistic supervision of Mr. ECM, Manfred Eicher. This program is like an ode to melodies that transcend dialects. Once again, John Surman unfolds very singular and beautiful narrations, parcels of internal joys that are almost melancholic, at the heart of which the improvisations are drunk like divine elixirs. This jazz is of course different. And as the saxophonist has been a resident at ECM for decades, he’s also one of the components of the sound of the label from Munich, now more than ever. © MD/Qobuz

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