Annette Peacock an Acrobat's Heart (2000) Ecm 1733

Bassist Gary Peacock contributed all six originals to this set which also features pianist Keith Jarrett and drummer Jack DeJohnette. These musicians (who are equals) have played together many times through the years and their support of each other and close communication during these advanced improvisations is quite impressive. It's a good example of Peacock's music.

Bassist Gary Peacock contributed all six originals to this set which also features pianist Keith Jarrett and drummer Jack DeJohnette. These musicians (who are equals) have played together many times through the years and their support of each other and close communication during these advanced improvisations is quite impressive. It's a good example of Peacock's music.

One of only a handful of Keith Jarrett "Standards" Trio records without a standard within earshot, this is a triumph, for Jarrett has successfully brought the organically evolving patterns of his solo concerts into the group format. Each of the first three selections is built upon a constant revolving ostinato, and each evolves from one stage to the next like a Jarrett solo piano improvisation.

Keith Jarrett - Eyes Of The Heart (1979) {ECM}
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© 1979 ECM Records | ECM 1150
Jazz / Post Bop / Piano

With Eyes Of The Heart, musician’s musician Keith Jarrett landed one of his last American Quartet flights. This live performance, recorded just one month after The Survivors’ Suite, is a journey of a rather different stripe. Jarrett whoops with delight as he opens Part One in a delicate congregation of drums. The kalimba-like bass of Charlie Haden hops from one foot to another as Jarrett looses a soprano sax into the prevailing winds. Only later does the expected piano shine through his fingertips.

"Achirana" marks the debut of a new trio, formed by ECM bassist of the first hour Arild Andersen and featuring, alongside veteran drummer John Marshall, Greek pianist Vassilis Tsabropoulos in his first recording for ECM. Likely to be hailed as a veritable 'discovery' in jazz circles, Tsabropoulos has long been recognised as an exceptionally gifted performer in other idioms. To quote Vladimir Ashkenazy, "Vassilis Tsabropoulos possesses rare talent". He has a reputation as a classical pianist, an interpreter of 19th and 20th century music, and as a conductor, and there is growing recognition for both his composing and his improvising.

Paul Bley, Evan Parker, Barre Phillips - Sankt Gerold Variations (2000) {ECM 1609}
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© 2000 ECM Records | ECM 1609
Jazz / Avant-Garde Jazz / Microtonal / Piano

ECM brought this trio of innovative free jazz veterans together for the first time to make the critically-acclaimed "Time Will Tell" album in 1994 - since then, it has become a popular institution on the touring circuit. "Sankt Gerold" is a live album, taped at the Austrian mountain monastery that has been the site of many distinguished ECM recordings, and it roves through many different moods. Parker and Phillips goad Bley toward some of his most abstract and experimental playing, yet they also respond to his more lyrical improvisational impulses. All three musicians are changed by the context. This is free music making at its purest.

Like 1998's Khmer, Solid Ether is an unusual addition to the ECM catalog, reflecting the Norwegian trumpeter's continued fascination with drum'n'bass, jungle, and other underground club genres. Molvaer's work in this idiom is indicative of a new wave sweeping Europe and Scandinavia, where boundaries between jazz and electronica are being creatively blurred by a growing number of forward-thinking artists.

With Eyes Of The Heart, musician’s musician Keith Jarrett landed one of his last American Quartet flights. This live performance, recorded just one month after The Survivors’ Suite, is a journey of a rather different stripe. Jarrett whoops with delight as he opens Part One in a delicate congregation of drums. The kalimba-like bass of Charlie Haden hops from one foot to another as Jarrett looses a soprano sax into the prevailing winds. Only later does the expected piano shine through his fingertips. Writ somehow large with modest articulations, his right hand brings gradual insistence until the melody and the moment become one, each frame sped into a single moving image. Part Two begins with more lovely pianism, this time with grittier chording and the added sheen of Paul Motian’s kit work. An insistent vamp unravels Dewey Redman’s dazzling alto, and cushions the applause that follow.

The Norwegian saxophonist Trygve Seim grew up in the provincial coastal city of Trondheim. It was calm and quiet, there were no crowds and he could hike in the wooded hills, with their trails and camp-sites. He really liked it there. Just released, Seim's first album as a leader - Different Rivers - sounds organized and clean, cold and uncrowded like that. … Different Rivers is melancholy, lonely, hypnotizing music - harder to escape from than to listen to. Like a fireplace in an ice palace, you get hooked on it; it's almost physical. … Seim's version of the ECM sound presents a wind-instrument chamber ensemble, a sort of slow-floating, pianissimo little-big band with occasional understated kicks. The shadow of Gil Evans hovers. The hornblowers finesse their personal, breathy, nonsymphonic textures from behind the beat.

Specially priced limited edition anthology with selected tracks from ECM releases of 2000. As with "Selected Signs I" (1997), the album, assembled by producer Manfred Eicher, creates its own atmosphere and reveals a suite-like logic and continuity.