Dtknuckles
Well-Known Member
I'll get around to getting this set up proper, but for now...give me a ECM Pat Metheney album I should listen to on the way home.
ECM Thread
- Thread starter Dtknuckles
- Start date
Dtknuckles
Well-Known Member
jduhb
New Member
For those on Apple Music, here’s ECM’s profile with playlists and lists of albums
Dtknuckles
Well-Known Member
Some classical minimalism that isn't Glass or Reich.
music.apple.com
Feldman, Morton: The Viola In My Life by Drew Townsend on Apple Music
Playlist · 4 Songs
music.apple.com
Dtknuckles
Well-Known Member
ECM memes? I’ve did it before and I’ll say it again follow this IG account by the guys in Wolf Eyes for quality experimental music memes.
Dtknuckles
Well-Known Member
Article about John Abercrombie by Nels Cline
www.premierguitar.com
John Abercrombie: 1944-2017
Nels Cline remembers the great guitarist and composer who had a profound and lasting impact on ’70s fusion and contemporary jazz improvisation.
www.premierguitar.com
HuddieLedbetter
Well-Known Member
That was a great read, thanks for sharingArticle about John Abercrombie by Nels Cline
John Abercrombie: 1944-2017
Nels Cline remembers the great guitarist and composer who had a profound and lasting impact on ’70s fusion and contemporary jazz improvisation.
Dtknuckles
Well-Known Member
Hour long program about ECM at Big Ears
www.npr.org
ECM At Big Ears: A Boundless Label Meets A Broadminded Festival
We head to the Big Ears Festival in Knoxville for the 50th anniversary of ECM Records. Hear three riveting performances by Carla Bley, Avishai Cohen and Nik Bärtsch's Ronin.
www.npr.org
uvwxVinyl
Well-Known Member
Thanks for keeping this thread ticking @Dtknuckles . I have to say almost everything I listen to from this label really hits home for me. There is definitely a distinct sound - very dark & mysterious. Also thanks for that article on Abercrombie. I just happened to be listening to "Arcade" when I saw the link you posted. Lovely album as well.
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pijo
Member
I've been on a Charles Lloyd deep dive lately and it reminded me of this thread so I thought I'd drop in. I really like his sound - beautifully soft but precise attack with Coltranesque fluttery explosions and (to my novice ear) a similarly clean, "flat" sound in terms of the actual quality of the notes, not in an out of tune way if any of that makes sense. I've been kind of working backwards through his catalogue and trying not to rush as I so often do when exploring an artist but to loiter and absorb the music. Notes From Big Sur is where I currently reside and it's quite luscious, there's a peace in the music that appeals to me.
The duet album with Jason Moran "Hagar's Song" is particularly lovely and meditative too.
All of it good though, really enjoying the journey.
The duet album with Jason Moran "Hagar's Song" is particularly lovely and meditative too.
All of it good though, really enjoying the journey.
Dtknuckles
Well-Known Member
Sorry guys...my summer break has me neglecting this place
tapeop.com
Jan Erik Kongshaug: ECM Records, Pat Metheny, Jan Garbarek
Tape Op is a free magazine exclusively about recording music. Subscribe (yep, for free) at tapeop.com.
tapeop.com
Dtknuckles
Well-Known Member
Dtknuckles
Well-Known Member
pijo
Member
Oh cool! Looks like some great stuff in that batch, great to see
Skalap
Well-Known Member
Coming from Norway, not ECM but it could be by the music and even the artwork : Mats Eilertsen: Reveries and Revelations
Star bassist and HUBRO veteran Mats Eilertsen presents his innovative cut and paste solo project featuring cameos from a supergroup of guests including Arve Henriksen, Eivind Aarset, Geir Sundstøl, Thomas Strønen and Per Oddvar Johansen
“It is a sort of solo album, I guess, but not in the way I would normally do it”, Mats Eilertsen says. “I wanted to do something that came out of the bass itself. Whereas normally I would record a lot of tracks and see what I had in the end, but more or less as they were played, this one is produced, cut, edited and layered from the beginning.” Eilertsen is well-established as one of Norway’s most internationally recognised jazz musicians, as well as one of Europe’s leading double bass players. He has been with HUBRO since its inception ten years ago, as well as enjoying a long relationship with ECM. His new album is an unusually constructed self-build project whose contents were put together (“arranged and assembled” is the credit on the sleeve) by Eilertsen using contributions recorded separately by each of his chosen cast of collaborators. “It’s me fooling around in a way I haven’t done myself before, and also playing organ, some guitar and additional stuff. Then I imagined some musicians that I would like to have adding their own touch to it.”
That the guest musicians are all stars in their own right shows the high regard in which Eilertsen is held by his peers. Their impeccable credentials as experimental artists working with the interplay between sound and music also gives us a strong clue as to the intended direction of the project as a whole. Geir Sundstøl adds guitars and banjo to two tracks while guitarist Eivind Aarset and percussionist Per Oddvar Johnansen play on one track each. The remaining two guests represent, together with Eilertsen, three quarters of the original line-up of the influential band Food (the missing link is the English saxophonist Iain Ballamy), whose self-titled debut album (‘Food’, Feral Records, 1999), edited from two live performances at the Molde Jazz Festival in 1998, became a landmark jumping-off point for the ‘new wave’ of Nordic and European improvisation that is still in progress. Thomas Stronen’s percussion and electronics feature on three tracks, and Arve Henriksen’s inimitable trumpet voice is heard on the album’s beautiful closing piece, ‘Appreciate’.
“I just sent them my files and asked them to add what they would like to, from their respective home studios”, says Eilertsen of his method for the album. “With the dumming of Thomas Strønen, it was the other way round. I asked him to send me some files he had stored on his computer. Then I chose ones I liked and started to cut them and move them around and add them to tracks I already had. So none of the musicians on the album actually played together.”
Whatever the method, the results are extraordinary. ‘Reveries & Revelations’ presents the listener with an immersive blend of sound and music that, like the experimental score for some yet to be realised film – part tense thriller, part Tarkovsy-like art movie, and, perhaps, part horror film – conjures up a wealth of richly allusive and atmospheric detail. The sonic events that make up the ten separate tracks of the album (although the whole sequence can function very successfully as a continuous suite), work on one’s imagination to evoke audio-landscapes or environments whose dreamily insubstantial wisps and fragments suggest the sense of revery alluded to in the title.
At times, the musical material is so minimal – as in the rocking-boat rhythm, ghostly portamento bowed-bassline and creaking-door FX of the opening ‘Nightride’ – that your mind is forced to flll in the gaps, like sound-painting by numbers. Other pieces suggest preparatory sketches based on chance shapes or outlines, like the Dadaist artist Jean Arp’s drawings and sculpture, or provoke, by happy accident, some magical invocation of random symbols or secret child’s-eye view that can put you in mind of Paul Klee. While the titles might give us provisional clues – ‘Tundra’, ‘Venus’, ’Hardanger’ – interpretation is inevitably subjective. And although ‘Reveries & Revelations’ is made up of separate pieces, there is a significant overlap so that some elements recur as leitmotifs throughout, creating a creeping (and often rather creepy) sense of evolving narrative.
Because Mats Eilertsen is a master double-bass player, it’s the role of the bass that provides the most consistent, and most striking, character in the story. The album is far from a show-offy demonstration of his considerable chops, but there is such an ocean of bass-derived sound here, from long bowed lines of cello-like fluency and pitch, to rumbling, bottom-deep, almost subliminal notes so low in the register that they are felt rather than heard, that one can’t fail to be impressed. Add frantic pizzicato plucking, Indian-influenced ‘I am the Walrus’-style slides, rotor-blade ‘whumps’ or massive chordal slabs of pure noise and you have a close to complete summary of what the instrument is capable of. And in case all this sounds too fiddly or academic-sounding, one only has to listen to the final piece, where the limpid beauty of Arve Henriksen’s plangent, flute-flavoured trumpet weeps the melody-line against the same rocking-boat rhythm that ‘Reveries & Revelations’ began with, to receive a powerful antidote. The wheel has turned full circle.
“It is a sort of solo album, I guess, but not in the way I would normally do it”, Mats Eilertsen says. “I wanted to do something that came out of the bass itself. Whereas normally I would record a lot of tracks and see what I had in the end, but more or less as they were played, this one is produced, cut, edited and layered from the beginning.” Eilertsen is well-established as one of Norway’s most internationally recognised jazz musicians, as well as one of Europe’s leading double bass players. He has been with HUBRO since its inception ten years ago, as well as enjoying a long relationship with ECM. His new album is an unusually constructed self-build project whose contents were put together (“arranged and assembled” is the credit on the sleeve) by Eilertsen using contributions recorded separately by each of his chosen cast of collaborators. “It’s me fooling around in a way I haven’t done myself before, and also playing organ, some guitar and additional stuff. Then I imagined some musicians that I would like to have adding their own touch to it.”
That the guest musicians are all stars in their own right shows the high regard in which Eilertsen is held by his peers. Their impeccable credentials as experimental artists working with the interplay between sound and music also gives us a strong clue as to the intended direction of the project as a whole. Geir Sundstøl adds guitars and banjo to two tracks while guitarist Eivind Aarset and percussionist Per Oddvar Johnansen play on one track each. The remaining two guests represent, together with Eilertsen, three quarters of the original line-up of the influential band Food (the missing link is the English saxophonist Iain Ballamy), whose self-titled debut album (‘Food’, Feral Records, 1999), edited from two live performances at the Molde Jazz Festival in 1998, became a landmark jumping-off point for the ‘new wave’ of Nordic and European improvisation that is still in progress. Thomas Stronen’s percussion and electronics feature on three tracks, and Arve Henriksen’s inimitable trumpet voice is heard on the album’s beautiful closing piece, ‘Appreciate’.
“I just sent them my files and asked them to add what they would like to, from their respective home studios”, says Eilertsen of his method for the album. “With the dumming of Thomas Strønen, it was the other way round. I asked him to send me some files he had stored on his computer. Then I chose ones I liked and started to cut them and move them around and add them to tracks I already had. So none of the musicians on the album actually played together.”
Whatever the method, the results are extraordinary. ‘Reveries & Revelations’ presents the listener with an immersive blend of sound and music that, like the experimental score for some yet to be realised film – part tense thriller, part Tarkovsy-like art movie, and, perhaps, part horror film – conjures up a wealth of richly allusive and atmospheric detail. The sonic events that make up the ten separate tracks of the album (although the whole sequence can function very successfully as a continuous suite), work on one’s imagination to evoke audio-landscapes or environments whose dreamily insubstantial wisps and fragments suggest the sense of revery alluded to in the title.
At times, the musical material is so minimal – as in the rocking-boat rhythm, ghostly portamento bowed-bassline and creaking-door FX of the opening ‘Nightride’ – that your mind is forced to flll in the gaps, like sound-painting by numbers. Other pieces suggest preparatory sketches based on chance shapes or outlines, like the Dadaist artist Jean Arp’s drawings and sculpture, or provoke, by happy accident, some magical invocation of random symbols or secret child’s-eye view that can put you in mind of Paul Klee. While the titles might give us provisional clues – ‘Tundra’, ‘Venus’, ’Hardanger’ – interpretation is inevitably subjective. And although ‘Reveries & Revelations’ is made up of separate pieces, there is a significant overlap so that some elements recur as leitmotifs throughout, creating a creeping (and often rather creepy) sense of evolving narrative.
Because Mats Eilertsen is a master double-bass player, it’s the role of the bass that provides the most consistent, and most striking, character in the story. The album is far from a show-offy demonstration of his considerable chops, but there is such an ocean of bass-derived sound here, from long bowed lines of cello-like fluency and pitch, to rumbling, bottom-deep, almost subliminal notes so low in the register that they are felt rather than heard, that one can’t fail to be impressed. Add frantic pizzicato plucking, Indian-influenced ‘I am the Walrus’-style slides, rotor-blade ‘whumps’ or massive chordal slabs of pure noise and you have a close to complete summary of what the instrument is capable of. And in case all this sounds too fiddly or academic-sounding, one only has to listen to the final piece, where the limpid beauty of Arve Henriksen’s plangent, flute-flavoured trumpet weeps the melody-line against the same rocking-boat rhythm that ‘Reveries & Revelations’ began with, to receive a powerful antidote. The wheel has turned full circle.
Dtknuckles
Well-Known Member
So preorder for the new solo Jarrett. I have no Jarrett and sometimes find him a little to heady for my taste. What do you guys think?
kafunis
Well-Known Member
Looks like you answered your own question. I’ve got quite a few Jarrett, I really like his 70’s Impulse albums, and a few others, have a few solo albums they are all different , sometimes he’s great sometimes not.