Ecm 2021

Once Upon A Time Live in Avignon, recorded at Avignon’s Théâtre des Halles in August 1994, presents Eberhard Weber’s unique approach to the solo recital. The album sees the bassist balancing compositions from his albums Orchestra and Pendulum with a vibrant rendition of “My Favorite Things” and his own “Trio for Bassoon and Bass”, revealing fresh aspects of his distinctive musical diction. Reviewing one of the bassist’s live shows the year this album was recorded, the Financial Times marvelled at Weber’s musicianship, insisting that “it is hard to imagine that anyone else could play what Weber plays“. Condensed into a concise programme, Once Upon A Time Live in Avignon captures the essence of Eberhard Weber’s solo performance.

In its review of pianist Shai Maestro’s ECM leader debut The Dream Thief, All About Jazz spoke of “a searching lyrical atmosphere, emotional eloquence and communal virtuosity that serves the music.” All of which also applies to Human, where Maestro’s outgoing, highly-communicative band with fellow Israeli Ofri Nehemya on drums and Peruvian bassist Jorge Roeder becomes a quartet with the inspired addition of US trumpeter Philip Dizack. Shai’s expansive pianism is well-matched by Dizack’s alert, quick-thinking approach to improvising. And, as ever, Maestro is taking the music forward while also respecting its sense of tradition. Near the end of a programme comprised almost entirely of Maestro originals, exploring a range of temperaments, the quartet offers its own take on Duke Ellington’s “In A Sentimental Mood”, while Shai’s tune “Hank and Charlie” pays tribute to the musical empathy shared by the late Hank Jones and Charlie Haden. Human was recorded at Studios la Buissonne in the South of France in February 2020, and produced by Manfred Eicher.

With Uma Elmo, his fifth album as a leader for ECM, Danish guitarist Jakob Bro presents a new trio featuring Norwegian trumpeter Arve Henriksen and Spanish drummer Jorge Rossy. Astonishingly, given the trio’s musical synergy, the first time these three musicians ever performed together was for the album’s sessions at the Swiss Radio studio in Lugano, with ECM founder Manfred Eicher producing. Uma Elmo reaffirms the observation about Bro’s work by London Jazz News that “there is no hurry to this music, but there is great depth.” Among the album’s highlights is opener “Reconstructing a Dream,” a darkly lyrical reverie.

The debut album of Joe Lovano’s Trio Tapestry was one of 2019’s most talked-about releases. The trio’s musical concept – the Boston Globe spoke of “utterances of hushed assurance, lyricism and suspense” - is taken to the next level on its second album, Garden of Expression, a recording distinguished by its intense focus. Lovano, a saxophonist whose reach extends across the history of modern jazz and beyond, plays with exceptional sensitivity in Trio Tapestry. And the music he writes for this group - tenderly melodic or declamatory, harmonically open, rhythmically free, and spiritually involving - encourages subtle and differentiated responses from his creative partners. Joe describes their interaction as “magical”. Carmen Castaldi’s space-conscious approach to drumming further refines an improvisational understanding that he and Lovano have shared since the 1970s.

A fascinating solo album from the Swiss pianist, composer and conceptualist best known as leader of the bands Ronin and Mobile, Entendre offers deeper insight into Nik Bärtch's musical thinking.As the album title implies Entendre is about hearing as a creative process, referencing the patient unfolding of Bärtch's modular polymetric pieces, with alertness to the dynamics of touch, finding freedom in aesthetic restriction, serving the flow of each piece's development while also taking the music to new places. Recorded at Auditorio Stelio Molo RSI, Lugano, in September 2020, and produced by Manfred Eicher.

Vijay Iyer presents a powerful new trio, in which he is joined by two key figures in creative music, Tyshawn Sorey and Linda May Han Oh. “We have an energy together that is very distinct. It has a different kind of propulsion, a different impulse and a different spectrum of colours”. Repertoire on UnEasy, recorded at Oktaven Audio Studio in Mount Vernon, New York in December 2019, includes Iyer originals written over a span of 20 years, plus Gerri Allen’s “Drummer’s Song” and a radical recasting of Cole Porter’s “Night and Day.”

Sir Andr s Schiff's remarkable new recording finds the great pianist reassessing interpretive approaches to Brahms in the inspired company of the Orchestra of the Age of Enlightenment. Their collaboration in a series of concerts was widely acclaimed and led to them recapturing the experience at Abbey Road where it was recorded in December 2019. Schiff plays on a Blthner piano built around 1859, the year the D minor concerto premiered.

This collection brings together three much sought-after recordings by Steve Kuhn: the solo piano album “Ecstasy” (recorded 1974), and two quartet albums. “Motility” (1977) features the band of the same name with saxophonist Steve Slagle in the front line, while “Playground” (1979) is the album that introduced the Steve Kuhn-Sheila Jordan Quartet. Singer Jordan is of course one of the great jazz vocalists, and this was an inspired teaming. Kuhn himself is a superlative pianist of vast gifts; each of these recordings illuminates another aspect of his work. Of these three discs only “Ecstasy” was previously available on compact disc, and then only in Japan. “Motility” and “Playground” here receive their first CD releases.

Anájikon, the second ECM album after Music for piano and string quartet (ECM New Series 2309) by Athens-born and Munich-based Konstantia Gourzi, incorporates her chamber and orchestral music of the past decade. The composer also conducts the Lucerne Academy Orchestra here: "I see composing and conducting as a whole, as an inseparable relationship," she says. Gourzi is particularly concerned with making connections between the arts, which also relates to the question of her own artistic identity and the influence of her origins. In Gourzi's sound language, elements of different musical traditions repeatedly merge, and East and West enter into a dialogue.