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Jazz - Verschenen op 1 januari 1975 | ECM

Onderscheidingen The Qobuz Ideal Discography - Qobuz Referentie
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Jazz - Verschenen op 14 februari 2020 | ECM

Hi-Res Booklet Onderscheidingen Choc de Classica
A sage piano stylist audibly influenced by Basie and Monk among others, Carla Bley has over the past 60 years also become one of jazz's preeminent composers. Originally influenced by '60s jazz avant-garde, Bley, as evidenced by her latest, Life Goes On, has fashioned her own jazz ethos—what ECM's Manfred Eicher has called her "radical originality." In jazz groups of any size longevity is often impossible as the essence of the music is often dependent on the potential of new combinations of talent, and yet a large part of Bley's recent success is keyed by her working trio of bassist/life partner Steve Swallow and saxophonist Andy Sheppard, who've been together for 25 years. Based around three suites—her most preferred form of composition—the lean and spacious Life Goes On is wonderfully confident and distinct. The opening movement of the title track is sly blues before turning to two parts that explore her trademark melodic mingling of classical music discipline and free jazz adventure. It concludes with "And Then One Day," where Bley holds down the rhythm with a repeated figure, over which Sheppard plays jaunty lines that have more than a whiff of Paul Desmond's cool tone. "Beautiful Telephones," based upon the current chief executive's comment about the Oval Office's exceptional phones, begins with Bley downshifting emotionally and exploring a more somber mood with Swallow plucking out his notes and Sheppard's tenor saxophone providing an equally unsettling counterpoint. In this work's final movement, the tempos pick up and her characteristic humor comes to the fore as she wryly quotes "The Battle Hymn of the Republic," "The Star-Spangled Banner," "America the Beautiful," and other patriotic hymns in a modern echo of her '70s composition, "Spangled Banner Minor and Other Patriotic Songs." The final suite, "Copycat" explores the hallowed jazz device of call-and-response as a conversation between three supremely accomplished players, whose clairvoyant togetherness shifts between agreeable and discordant. While it's right to applaud the current rush of praise for the fresh energies that youth are bringing to music these days, the deep wisdom and impeccable craft of a pioneer like Bley deserves to be equally acclaimed. © Robert Baird / 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 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 20 maart 2020 | ECM

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In 2016 and then again in 2018, for his albums Rising Grace and Where the River Goes, Wolfgang Muthspiel surrounded himself with a five-star cast including pianist Brad Mehldau, trumpeter Ambrose Akinmusire and bassist Larry Grenadier. It was enough to show those who still doubted the calibre of the Austrian guitarist that he was still able to draw the greats to his side... for his 2020 offering, this worthy heir to Mick Goodrick and Pat Metheny trims sail to record with double bass player Scott Colley and drummer Brian Blade. As his 2014 Driftwood already showed, this trio is a more powerful sounding board for Muthspiel, who alternates between acoustic and electric guitar. The precision of his phrasing, the melodic perfection of his writing (he signs seven of the nine tunes on the record) and the diversity of styles (be-bop with Ride, experimental on Solo Kanon in 5/4 played with a delay, contemplative on Camino) give birth to a contemporary jazz that is once again demanding formally as well as technically. Angular Blues is also a space of total freedom. And that feeling is even stronger on Everything I Love and I'll Remember April, the two unique standards of the album that the three men imbue from head to toe with a lot of ingenuity. © Marc Zisman/Qobuz
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Jazz - Verschenen op 29 januari 2021 | ECM

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What if Trio Tapestry was one of the most crucial outfits in all of Joe Lovano's long career? A year after a first album for ECM, the Cleveland saxophonist has reunited with his two accomplices, pianist Marilyn Crispell and drummer Carmen Castaldi, for an even more moving recording. Upon the release of the first, Lovano had described this Trio as "a melodic, harmonic, rhythmic musical tapestry throughout, sustaining moods and atmospheres.” Trio Tapestry, above all, had all the hallmarks of a spirited piece of jazz. With this Garden of Expression, spirituality and calm once again underline each improvisation. Lovano, who writes all the compositions, is never a lider maximo but one third of a tightly-welded unit. A unique voice driven by a desire for purity. In what is unspoken, in the notes that are left unplayed, Crispell displays astounding precision. The depth of the playing of this unfairly underestimated pianist has rarely reached such a level. In terms of restraint too, Lovano blows a light wind of saving serenity in these turbulent times (the album is dedicated to the victims of Covid): a breeze that does good and is felt as a welcome pause for recollection. Wonderful. © Marc Zisman/Qobuz
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Jazz - Verschenen op 11 september 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 27 april 1981 | ECM

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Jazz - Verschenen op 14 februari 2020 | ECM

Hi-Res Booklet Onderscheidingen 4F de Télérama
Having moved to New York like a great many Israeli jazz artists, Oded Tzur quickly established his unique tenor saxophone for a simple reason. His teacher was not a player of the instrument, but was none other than the ultimate master of the bansuri flute Hariprasad Chaurasia. By exploring the subtleties of classical Indian music and ragas, the Tel Aviv native was able to build his knowledge of jazz differently. For his arrival on ECM, Oded Tzur joined forces with pianist Nitai Hershkovits, double bassist Petros Klampanis and drummer Jonathan Blake. Each theme on Here Be Dragons presents itself as a sort of mini raga developing over a moving bass and playing on the juxtaposition of two very different musical concepts. “The dialogue between these dimensions takes us wherever it takes us,” details the saxophonist. “For me, the raga is a universal concept. I hear its connection to synagogue prayers or to the blues -- a marvellous creation -- and to music all around the world.” This is a vision he shares with his three colleagues who are all on the same wavelength as him. The level of restraint, the accuracy of the interventions and the talent of manipulating silence are the most impressive on this record, as Tzur easily avoids the contemplative and self-indulging traps. The depth of his sound even allows him to create a rather captivating narrative. The blissful singing appears to invite you to a journey within. This is a sublime album which finishes with a rather surprising cover of Can’t Help Falling In Love by Elvis. With no gimmicks, Oded Tzur makes the King’s iconic hit his own and thus completes his grandiose entry to Manfred Eicher’s label with a cheeky wink. © Marc Zisman/Qobuz
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Jazz - Verschenen op 30 november 1975 | ECM

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography - Qobuz Referentie
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Jazz - Verschenen op 29 mei 2020 | 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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Moderne jazz - Verschenen op 12 februari 2021 | ECM

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Jakob Bro calmly continues on his way, making no waves, but still a guitarist who counts. Underestimated, little-publicised, but truly exciting. Sound, space, melody, silence: the Danish forty-something year old from the ECM crew has his own language, even though the influence of an elder musician like Bill Frisell appears here and there. It's a language that he takes on new paths, such as Uma Elmo, where he is accompanied by the Norwegian Arve Henriksen and Jorge Rossy from Spain. The originality of a guitar, trumpet, drums trio allows the melodies – all written by Bro – to develop in unexpected ways. Here, the three intelligently manipulate sound textures, keeping the serene ambience from seeming slick or even vain. Because this music, which alternates between meditative tracks and live sets, evokes strong emotions. It is as if we are caught in the ocean of sound in which Henriksen's trumpet sings a completely hypnotic siren song, Bro's guitar blows hot and cold, all punctuated by Rossy's stimulating rhythms. On Housework, the exchanges happen against the current, as in a dream, leading to a kind of unstructured jazz held together in a flow of electronic magma. Jakob Bro also salutes his forebears. To Stanko is a tribute to the Polish trumpeter Tomasz Stanko who died in 2018 and who had welcomed him into his Dark Eyes Quintet. And Music for Black Pigeons is dedicated to the great saxophonist Lee Konitz, who died in 2020... We leave Uma Elmo exhausted. It's a good kind of mental tiredness. Physical, too. A demanding experience and a tonic, that constantly pushes the boundaries of improvised music. © Marc Zisman/Qobuz
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Jazz - Verschenen op 1 mei 1977 | ECM

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Jazz - Verschenen op 13 juni 2014 | ECM

Hi-Res Booklet Onderscheidingen Choc de Classica - Indispensable JAZZ NEWS
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Jazz - Verschenen op 6 september 2019 | ECM

Hi-Res Booklet Onderscheidingen 4F de Télérama - 5 Sterne Fono Forum Jazz
Piano and trumpet duets are relatively rare. In 1928, while recording Weather Bird, Louis Armstrong and Earl Hines kicked things off, followed much later by Chet Baker and Paul Bley (with Diane in 1985), Tom Harrell and Jacky Terrasson (Moon and Sand in 1991), Martial Solal and Eric le Lann (Portrait in Black and White in 2000), Martial Solal and Dave Douglas (Rue de Seine in 2006), Uri Caine and Paolo Fresu (Things in 2006), Enrico Rava and Stefano Bollani (Rava Plays Rava in 1999 and The Third Man in 2007), Oscar Peterson on five albums (with Dizzy Gillespie, Roy Eldridge, Clark Terry, Jon Faddis and Harry “Sweets” Edison), Clark Terry’s One On One in 2000 (with fourteen different pianists!) and, most recently, Vijay Iyer and Wadada Leo Smith (A Cosmic Rhythm With Each Stroke in 2016)... Avishai Cohen and Yonathan Avishai have known each other since their teens in Tel Aviv. The pianist even featured on the trumpeter’s two ECM albums, Into the Silence and Cross My Palm With Silver. Their innate complicity allows them to improvise freely, playfully, and intensely on Playing the Room, their first work as a duo. As the title suggests, the two Israelis also incorporate the room – in this case the Auditorio Stelio Molo RSI studio in Lugano – into their sound and they make full use of its resonant acoustics. They each sign a theme in turn before embarking on an eclectic repertoire by John Coltrane (Cresent), Duke Ellington (Azalea), Abdullah Ibrahim (Kofifi Blue), Ornette Coleman (Dee Dee), Milt Jackson (Ralph’s New Blues), Alexander Argov (Shir Eres) and Stevie Wonder (Sir Duke). And they transform this heterogeneous programme into utterly moving chamber jazz. © Marc Zisman/Qobuz
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Jazz - Verschenen op 13 oktober 2017 | ECM

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
The Tunisian Anouar Brahem is one of the most subtle contemporary oud players. Evolving in the ECM sphere, his discographic adventures therefore unfold on international grounds where music coming from ancestral traditions crosses paths with the contemporary and jazz worlds. The virtuoso, who celebrates his sixtieth birthday with this album, wanted to indulge himself by renewing a dialogue opened two decades ago with the bass player Dave Holland. And the cherry on top: this jazz master came with a former colleague of his Miles Davis period, the drummer Jack DeJohnette. Brahem also wanted to confront his Arabic lute against a high-level pianist and Manfred Eicher, Mister ECM, introduced him to the talented British musician Django Bates. The four men obviously get along well, and it shows in every corner of these nine tracks. Jazz is at the center, but far from being conventional, bound to be blended by mixing the Eastern scholarly grammar and the famous maqams. But most of the time it’s music both pure and without a label much like the virtuosos without borders who play it. © BM/Qobuz
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Jazz - Verschenen op 1 maart 1979 | ECM

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Jazz - Verschenen op 13 juli 2012 | ECM

Hi-Res Onderscheidingen 4F de Télérama - Choc de Classica - Indispensable JAZZ NEWS - Stereophile: Recording of the Month

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