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Alexander Mosolov (1900-1973), too, uses his own distinctive scheme of tonal organisation, different from Roslavets, and different from the Vienna School as well. His sonatas are technically very complex and difficult, and symphonically oriented, exploiting the full resources of the modern instrument. Herbert Henck puts this difficult material across in a beautiful, spirited performance and finds a lot of lyricism behind an often forbidding surface. The recording and production are up to the highest possible standards, as with all of ECM's releases, which are unsurpassed.

A recent entry in ECM's consistently interesting series presenting music from the former Soviet Union, this release offers two 1990s compositions from the Uzbek-born Alexander Knaifel. Svete Tikhiy (O Gladsome Light), written in 1991 and dedicated to Giya Kancheli, is a three-movement work for soprano and sampler, with texts drawn from Russian Orthodox liturgy. The manipulation of soprano Tatiana Melentieva's voice with the sampler comes mostly in the 20-minute second movement, where human vocal timbres are fragmented into beats and harmonies. Structurally the movement offers a procession of fields of sound (the rather mystical liner notes refer to color associated with Orthodox iconography) not so different from other minimalist works, but the sampler adds a new twist that in 1991 was fairly innovative, especially in Russia.

The complete Hymns, Spheres, at last available on compact disc. Keith Jarrett’s first encounter with the Karl Joseph Riepp baroque organ of the Abbey of Ottobeuren – one of the great improvisers of the age communing with one of Europe’s most famous instruments – brought forth some truly unique music. The 1976 double LP release has long been a favourite amongst organ music aficionados as well as Jarrett’s loyal following, admired for Jarrett’s spontaneous improvisational resourcefulness, the variety of textures drawn from the instrument, and for the sheer physical power of the sound in the church, beautifully captured in the ECM recording.

Spirits is more than a jewel in the rough. It is the rough of a jewel. By this, I mean to say that through its hard-won journey Keith Jarrett has peered into the heart of darkness that is life and compressed it into a diamond so honest that no amount of polishing will wear away its blemishes. Recorded at his home studio, then post-processed by ECM engineer Martin Wieland, this is a most personal album of boundless expression. Then again, so is every Jarrett album. The difference is in the instrumentation: an unusual array of flutes, keys, and percussion, overdubbed in various combinations and densities (Jarrett even picks up a guitar, which he treats more like a sitar). Jarrett also sings, wails as if in and of the earth, finding in Nature a single feather plucked from nowhere. Bird-less, it has no recourse to flight, and can only call to a sky it will never know.

“Arborescence” is the word for the way something grows, seeking and adaptive, like a tree – its roots and branches moving under and around things wherever they need to go toward water, toward the sun. Prize-winning young pianist Aaron Parks titled his ECM debut “Arborescence” because the album’s music is the fruit of a session of solo studio improvisation in which little was predetermined; the pieces developed in the moment like “living things,” in the artist’s words.

Pianist Julia Hülsmann and singer Theo Bleckmann, in a first – and long-awaited – collaborative recording, celebrate the “unsung Weill” alongside the master’s best-loved works including “Mack The Knife”, “Speak Low” and “September Song”, adding also Julia’s settings of Walt Whitman, with whom Kurt Weill felt an affinity. The project came together at the instigation of the Kurt Weill Festival in Dessau in 2013 and since then has gained new life on the road and been fine-tuned in this studio recording made in Oslo in June 2014 with Manfred Eicher as producer. It marks a musical advance for the Hülsmann group at a number of levels, and these recastings of Weill open up new imaginative possibilities for the players. English trumpeter and flugelhornist Tom Arthurs, who made his debut with Hülsmann on In Full View is fully integrated on A Clear Midnight.

Steve Tibbetts is a difficult artist to categorize. While the German-based ECM was (at one time) the home of jazz guitarists Pat Metheny, John Abercrombie and Ralph Towner, Tibbetts' music seems more a product of Jimi Hendrix and Frank Zappa than Jim Hall or Wes Montgomery. Throw into the mix the wordless vocals on some tracks and the use of tabla and synthesizer, and Tibbetts and the other musicians on this CD produce some powerful music–not to mention amazing guitar pyrotechnics from Tibbetts himself.

A year and a half after Alexander Liebreich succeeded Christoph Poppen as artistic director of the Munich Chamber Orchestra, their first recording is about to be released. As always the orchestra, cited twice this decade by the German Music Publishers Association for the best-programmed season, is striking out on challenging and unconventional paths. Each season is governed by a guiding theme; new concert formats are put to the test; and new works are commissioned on a regular basis. (In early December 2007 it gave the world premiere of Erkki-Sven Tuur's ‘Questions…’ with the Hilliard Ensemble in Frankfurt.) This new release, the orchestra’s eighth album for ECM, reflects not only its precept to keep its repertoire deliberately open-ended, but Liebreich's special predilection for Isang Yun, a composer whose music he came to understand in its cultural context during an extended stay in Korea.

Jan Garbarek is, of course, one of ECM’s longest standing composers and saxophonists, yet he is first and foremost a spectacular improviser who often manages to reach farther than (I imagine) even his own expectations in touching new melodic concepts. Paired with the Spheres-like church organ of Kjell Johnsen, he plumbs the depths of spiritual and physical awareness in a way that few of his albums have since. Here more than anywhere else, he shapes reverberation into its own spiritualism, exploring every curve of his surrounding architecture, every carved piece of wood and masonry.

Pianist Giovanni Guidi and trombonist Gianluca Petrella, key figures in what some are hailing as a “golden age” of Italian jazz, found their strong improvisational rapport inside Enrico Rava’s band (see for instance the 2010 ECM album Tribe) and, keen to play more, formed a duo, giving many concerts in which they are intermittently joined by guests. For this studio recording, producer Manfred Eicher brought the duo together with US drummer Gerald Cleaver and French clarinetist Louis Sclavis, for an outgoing set of music which includes lyrical free improvising and tunes composed by Giovanni and Gianluca.