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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 - Verschijnt op 19 maart 2021 | ECM

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Jazz - Verschijnt op 19 maart 2021 | ECM

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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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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 29 januari 2021 | ECM

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In 2018, Shai Maestro marked a milestone by joining the ECM team. After four albums animated by a certain grace that stamped his name on the contemporary jazz scene, the Israeli pianist, with excellent rhythmic accompaniment (the Peruvian Jorge Roeder on double bass and the Israeli Ofri Nehemya on drums) embarked once again on the path of vibrant stories-within-stories. Melodies inherited from the jazz repertoire but also from traditional oriental music or even Western classical music. Sources of inspiration like this great narrative tailwind are again summoned on Human, which was written with the same trio plus Philip Dizack, who brings a real personal touch. While taking care to digest the values of the trio, the American trumpeter brings this music closer to a certain classicism. It's a heritage that the Maestro has always kept in his sights and that he celebrates here with Duke Ellington's In a Sentimental Mood, the only cover on the album, or on Hank and Charlie, a tribute to Hank Jones and Charlie Haden. But it is the virtuosity – which is never ostentatious – of these four that impresses throughout Human. An impressive technique (GG) is put to work on the melody of the delicate (Compassion) and poetic (The Thief's Dream) themes on this record: themes all composed by the Maestro himself. © 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 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 29 januari 2021 | ECM

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In 2018, Shai Maestro marked a milestone by joining the ECM team. After four albums animated by a certain grace that stamped his name on the contemporary jazz scene, the Israeli pianist, with excellent rhythmic accompaniment (the Peruvian Jorge Roeder on double bass and the Israeli Ofri Nehemya on drums) embarked once again on the path of vibrant stories-within-stories. Melodies inherited from the jazz repertoire but also from traditional oriental music or even Western classical music. Sources of inspiration like this great narrative tailwind are again summoned on Human, which was written with the same trio plus Philip Dizack, who brings a real personal touch. While taking care to digest the values of the trio, the American trumpeter brings this music closer to a certain classicism. It's a heritage that the Maestro has always kept in his sights and that he celebrates here with Duke Ellington's In a Sentimental Mood, the only cover on the album, or on Hank and Charlie, a tribute to Hank Jones and Charlie Haden. But it is the virtuosity – which is never ostentatious – of these four that impresses throughout Human. An impressive technique (GG) is put to work on the melody of the delicate (Compassion) and poetic (The Thief's Dream) themes on this record: themes all composed by the Maestro himself. © Marc Zisman/Qobuz
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Vocale jazz - Verschenen op 13 november 2020 | ECM

Hi-Res Booklet Onderscheidingen 4F de Télérama
In 2018, Elina Duni went solo. Well, she put her name on an album cover and no one else’s. After leading a jazz-based quartet for two albums, the Tirana singer brought out Partir on ECM. The magnificent folklore and popular pieces were played on piano, guitar and percussion and evoked love as well as loss and bereavement. With Lost Ships, Duni continues her collaboration with the young British guitarist Rob Luft which began in 2017. The duo brings together songs of love, exile and suffering. They explore the world’s ills - from migration conflicts to ecological concerns - through truly moving melodies. It’s like a chamber symphony that mixes Mediterranean textures with jazz arrangements. Sometimes, the duo is joined by English pianist and percussionist Fred Thomas and Swiss trumpeter Matthieu Michel. Whether it’s a jazz ballad, an Italian song (Bella Ci Dormi), an Albanian folk tune (Kur Më Del Në Derë and N'at Zaman), a standard made popular by Frank Sinatra (I'm a Fool to Want You) or Charles Aznavour (Hier encore), these diverse sources are brought together by Elina Duni’s expressive voice. Sitting somewhere between a Balkans fado and European blues, it’s a voice that brings hope. © Marc Zisman/Qobuz
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Jazz - Verschenen op 13 november 2020 | ECM

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In 2018, Elina Duni went solo. Well, she put her name on an album cover and no one else’s. After leading a jazz-based quartet for two albums, the Tirana singer brought out Partir on ECM. The magnificent folklore and popular pieces were played on piano, guitar and percussion and evoked love as well as loss and bereavement. With Lost Ships, Duni continues her collaboration with the young British guitarist Rob Luft which began in 2017. The duo brings together songs of love, exile and suffering. They explore the world’s ills - from migration conflicts to ecological concerns - through truly moving melodies. It’s like a chamber symphony that mixes Mediterranean textures with jazz arrangements. Sometimes, the duo is joined by English pianist and percussionist Fred Thomas and Swiss trumpeter Matthieu Michel. Whether it’s a jazz ballad, an Italian song (Bella Ci Dormi), an Albanian folk tune (Kur Më Del Në Derë and N'at Zaman), a standard made popular by Frank Sinatra (I'm a Fool to Want You) or Charles Aznavour (Hier encore), these diverse sources are brought together by Elina Duni’s expressive voice. Sitting somewhere between a Balkans fado and European blues, it’s a voice that brings hope. © Marc Zisman/Qobuz
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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 | 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

Hi-Res Booklet
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 25 september 2020 | ECM

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Jazz - Verschenen op 25 september 2020 | ECM

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ECM in het magazine
  • Impressive Technique and Melody!
    Impressive Technique and Melody! In 2018, Shai Maestro marked a milestone by joining the ECM team...
  • Avishai Cohen: This Time It's Different
    Avishai Cohen: This Time It's Different With his group Big Vicious, the Israeli trumpeter incorporates electronic and atmospheric music into his jazz, and even covers Massive Attack's "Teardrop"!
  • Yonathan Avishai | One Cover One Word
    Yonathan Avishai | One Cover One Word At the time of the release of "Playing the Room" in September 2019, we were lucky enough to talk to both halves of the duo who recorded the album. This time, it's the pianist Yonathan Avishai who g...
  • Avishai Cohen | One Cover One Word
    Avishai Cohen | One Cover One Word We had the opportunity to sit down with the Israeli trumpeter last year at the time of the release of "Playing the Room", the duo album he made with the pianist Yonathan Avishai. This One Cover One...
  • ECM turns 50!
    ECM turns 50! Manfred Eicher’s Munich-born music label celebrates half a century of jazz different from the norms, bringing the traditionally African-American genre to Europe and beyond…
  • Exclusive Qobuz interview with Anouar Brahem
    Exclusive Qobuz interview with Anouar Brahem We sat down with the Tunisian Oud player who released the elegant "Blue Maqams", an album with a jazz core, recorded with Dave Holland, Jack DeJohnette and Django Bates...
  • Roscoe Mitchell, freely...
    Roscoe Mitchell, freely... The great free jazz saxophonist signs a demanding and impressive work ...