John Ecm

In short saxophone and church organ duets, John Surman and Howard Moody follow up their previous orchestral project, Proverbs & Songs from 1998, with this series of improvisations that track through occasional traditional themes, as well as new compositions that have older values and motifs in mind. Surman is his usual brilliant and staunchly individual self, whether playing his trusty baritone sax, bass clarinet, or at times, soprano, while Moody's keyboards provide more of a foundation rather than being on equal footing. Recorded in Oslo, Norway, moods from joyous and active to introspective or pensive are dotted throughout this program that seems like a musical biopic through the life of virtually anyone…

John Surman's debut as a leader for ECM is an atmospheric solo set that utilizes overdubbing (although leaving space for unaccompanied solo sections). Surman performs eight of his moody and often-introspective originals, playing soprano, baritone, bass clarinet and synthesizers. Fortunately there is enough variety in this generally quiet music to hold one's interest.

First and foremost, Cat 'n' Mouse is a game among equals. The members of this quartet are each powerful musicians in their own right, and somehow they've made a treaty to serve a common cause.

A saxophone workout from '85 by outstanding British player John Surman. While solo sax can be extremely tiring, Surman mixes enough elements of rock, free, blues, and hard bop to keep the songs varied. His aggressive style, especially on baritone, keeps the energy level high.

John Surman's thoughtful solos (which take their time and make a liberal use of space) have long made him the perfect ECM artist. On his quartet set with pianist John Taylor, bassist Chris Laurence and drummer John Marshall, Surman mostly sticks to soprano although there are some short spots for his baritone and bass clarinet. Surman always sounds relaxed, even on the more heated originals. It's an interesting set of generally introverted music.

John Abercrombie Quartet: Up and Coming Starting the new year with, if not precisely a bang, a nevertheless unforgettable record whose strength lies in pristine lyricism, nuanced group interplay and writing that capitalizes on the entire quartet's appreciation of subtlety over gymnastics and refined lyricism over angularity, John Abercrombie's Up and Coming—ECM's first release of the year—is also founded strongly on the concept of relationship.

John Scofield’s first guitar-solo-recording ever gives a résumé of all the influences and idioms he has cultivated over his career in performances on guitar, accompanied by his own rhythmic pulse and chordal backing using a loop machine. Besides jazz, John is known to have always also had a soft spot for the rock and roll and country music he grew up with, revealed here in unencumbered renditions of Buddy Holly’s “Not Fade Away” and Hank Williams’ “You Win Again”. Between elegant and personal readings of standards, like “It Could Happen To You”, the traditional “Danny Boy” and Keith Jarret’s “Coral”, Scofield presents his own timeless compositions – some new, others known. For the guitarist, it’s all about “the way you get the sound out of the string and what you do with it after you attack it.”

Although atmosphere and ambience can take priority over compositional focus on some ECM releases, this is far from the case with CLASS TRIP. The product of guitarist John Abercrombie's collaboration with violinist Mark Feldman, bassist Marc Johnson, and drummer Joey Baron (their follow-up to 2002's CAT 'N' MOUSE), CLASS TRIP is an exemplar of what ECM does best. This is spare, brilliantly conceived chamber jazz with the artists' superior improvisational skills–which draw equally on jazz, modern classical, avant-garde, and even pop idioms–on abundant display.

Named for the Grateful Dead song that concludes this inspired double album, Uncle John’s Band features masterful guitarist John Scofield at his most freewheeling. Wide ranging repertoire finds his trio with Vicente Archer and Bill Stewart tackling material from Dylan’s “Mr Tambourine Man” to Neil Young’s “Old Man”, from Leonard Bernstein’s “Somewhere” to the Miles Davis Birth of the Cool classic “Budo”. And jazz standards including “Stairway to the Stars” and “Ray’s Idea” rub shoulders with seven Scofield originals that are variously swing, funk and folk-inflected. The red thread through the programme is the trio’s tremendous improvisational verve. “I feel like we can go anywhere,” says John Scofield of the group’s multi-directional versatility. Uncle John’s Band was recorded at Clubhouse Studio in Rhinebeck, New York, in August 2022.

The follow-up to While We're Young has a less melodic, more loosely structured feel, as if it were all kinetically inspired and freely improvised within various structures. The intuition or trust level of electric guitarist John Abercrombie, organist Dan Wall, and drummer Adam Nussbaum is clearly evident: They are listening, reacting, and responding to each other from measure to measure, and that is the basis for their music making.