Ecm Dvd

Barry Guy - Folio (2005) {ECM New Series 1931}
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© 2005 ECM Records | ECM New Series 1931
Jazz / Classical / Avant-Garde / Modern Composition / Bass

The liner notes for Barry Guy's extended composition/improvisation Folio (a printer's term for a piece of paper folded in half to create four pages) refer extensively to Nikolai Evreinov's 1912 play The Theatre of the Soul, in which three aspects of the soul are introduced by a pretentious professor who claims the Self as Trinity: Rational, Emotional, and Eternal (or subconscious). Performed a scant five years before the Russian Revolution and simultaneously as Freud's big exposition of the Id, the Ego, and the Superego, the play is one of those moments where history seems to be suggesting bits and pieces of itself. What that all has to with Guy's piece is ponderous at best and known only to Guy. Even Brian Lynch's liner essay is speculative and academic.

Bengt Berger - Bitter Funeral Beer (1981) {ECM 1179} {OOP & RARE rel 1994)
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© 1981, 1994 ECM Records | ECM 1179
Jazz / World Music / Avant-Garde Jazz / African Traditions / West African

The term "cultural imperialism" is often used, justly, when Western musicians appropriate aspects of third world music for their own, watering it down to listener-friendly levels and giving scant acknowledgement to its original creators. Whereas this sort of approach has been the unfortunate rule, from Paul Simon to David Byrne, every once in a while a glorious exception emerges. Such an exception is Swedish percussionist Bengt Berger's Bitter Funeral Beer band. Berger, who devoted lengthy periods of study to West African music, particularly that of Ghana, assembled a large contingent of fellow Swedes, trained them in various aspects of West African traditions and, most importantly, chose Ghanaian folk themes with utterly beautiful and irresistible melodic lines from which to improvise.

Sofia Gubaidulina - Sofia Gubaidulina (2002) {ECM New Series 1775}
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© 2002 ECM Records | ECM New Series 1775 / 461897-2
Classical / Contemporary Classical / Orchestral

“There is no more important reason for composing music than spiritual renewal.”–Sofia Gubaidulina. Shostakovich once famously said of his student, Sofia Gubaidulina, “I want you to continue along your mistaken path.” Mistaken, that was, in the former Soviet Union, where the deliverance preached through her devout composing sat uncomfortably with censors. So much so that when she composed her Seven Words in 1982, she was obliged to leave out “…of Our Savior on the Cross” from its title. Nevertheless, this riveting work is one of the twentieth century’s reigning masterpieces.

Stephan Micus - Nomad Songs (2015) {ECM 2409}
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© 2015 ECM Records | ECM 2409 | 471 4325
Jazz / International Jazz / Ethnic / Minimalism / Neo-Classical

In his journeys all over the world Stephan Micus seeks to study and understand traditional instruments, the sounds that they produce and the cultures that brought them to life. He then composes original pieces for them, combining instruments that would never normally be heard together, chosen from different cultures simply for their character, texture and sonic beauty. Nomad Songs is his 21st album for ECM; he plays nine different instruments, but emphasizes two he hasn’t used before: The first is the Moroccan genbri, a lute covered with camel-skin, played by the Gnawa in Morocco.

Paul Bley - Solo In Mondsee (2007) {ECM 1786 rec 2001}
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© 2001, 2007 ECM Records | ECM 1786
Jazz / Avant-Garde Jazz / Free Improvisation / Piano

Fully 35 years after Open, to Love, Paul Bley's seminal solo piano recording for ECM (which stands as a watermark both in his own career and in the history of the label – i.e., unconsciously aiding Manfred Eicher in establishing its "sound"), the pianist returns to the label for another go at it on Solo in Mondsee. Recorded in Mondsee, Austria, in 2001, and not issued until Bley's 75th year, these numbered "Mondsee Variations" were played on a Bösendorfer Imperial grand piano, an instrument that is, like its player, in a class of its own. Bley moves through ten improvisations lasting between two and just under nine minutes each.

Morton Feldman - Violin and Orchestra (2013) {ECM New Series}
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© 2013 ECM New Series | ECM 2283
Classical / Avant-Garde / Modern Composition

Carolin Widmann’s widely acclaimed ECM recordings have traversed a broad arc of music – from Schubert to Xenakis. Here she turns her attention to one of the pivotal compositions of Morton Feldman. Violin and Orchestra, composed in 1979, marked a new direction, with an almost painterly attention to detail in slowly unfolding music.

Dave Holland - The Razor's Edge (1987) {ECM 1353}
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© 1987 ECM Records | ECM 1353
Jazz / Post Bop / Modern Creative / Bass

Dave Holland's mid-1980s band played inventive music that was between post-bop and the avant-garde. The group acted as a launching pad for altoist Steve Coleman, gave publicity to the always-underrated trumpeter Kenny Wheeler, and in 1987 also featured trombonist Robin Eubanks and drummer Marvin "Smitty" Smith. The group's three ECM releases are well worth exploring, and this set gives listeners a strong example of their work.

Helena Tulve - Arboles Lloran Por Lluvia (2014) {ECM New Series}
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© 2014 ECM Records | ECM New Series 2243
Classical / Chamber Music

Recorded in churches in Tallinn as well as the Estonian Concert Hall, the five compositions heard on “Arboles lloran por lluvia” (Trees cry for rain) give deeper insight into the unique sound-world of Helena Tulve, into music which is nourished by both contemporary and ancient currents. Tulve draws upon a wide-range of inspirational sources.

Thomas Stronen - Time Is A Blind Guide (2015) {ECM 2467}
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© 2015 ECM Records | ECM 2467
Jazz / Modern Creative / Avant-Garde Jazz / Drums / Percussion

Time Is A Blind Guide is both the title of Thomas Strønen’s album and the name of his new Norwegian-British ensemble. In contrast to Food and its electronic soundscapes, TIABG is an all-acoustic group which plays what its drummer-leader-composer calls “melodic music with a twist.” Its melodies unfurl sinuously over shifting rhythmic patterns. The band was built to include a number of overlapping musical sub-groups.

Miroslav Vitous - Miroslav Vitous Group (1980) {2014 ECM 1185, Re:Solutions Series}
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© 1980, 2014 ECM Records | Re:Solutions Series | ECM 1185 / 374 3510
Jazz / Post Bop / Bass

As part of the Re:solutions series this historical title has been mastered from original analog sources and reissued in January 2014. Between 1979 and 1982, the Miroslav Vitouš Group was the primary outlet for the abundant improvisational skills of leader Vitouš and John Surman. They made three ECM albums: this eponymously-titled disc from 1980 is the middle one.