John Ecm

John Surman is an artist with an amazing range and depth of style, from contemporary classical to jazz to electronic music. In few places is this more evident than on A Biography of the Rev. Absalom Dawe, on which Surman acts as a sort of one-man wind chamber ensemble, playing baritone saxophone (his signature instrument) as well as soprano sax, alto and bass clarinets, and keyboards. The electronic elements are few and unobtrusive, and the keyboard's bright tones are a good match for the fluid, breathy sounds of the wind instruments. The music itself is nearly always ethereal and atmospheric, without journeying into the territory of askeletal new age softness. Instead, the execution seems precise and intentional; each instrument was recorded separately and then mixed as individual units into the whole, giving Surman additional opportunities for crispness of sound…

This surprising 1984 effort from John Abercrombie finds the guitarist in conversation with Jan Hammer, Jack DeJohnette, and Mike Brecker. The lack of a bassist on this session is not felt; the spaciousness of the music and the masterful playing of all parties involved keep the focus clearly on the melodies, both scripted and improvised.

Echoing tones from the well-known Timeless recording, Abercrombie is back in the organ-drums-guitar saddle. This time around, though, the sound is much more underground/labyrinth-like. His guitar molds and shapes these compositions, sometimes steely or snarly, at others passive and meditative. Dan Wall's intense organ stirs the drink, his orchestral, expansive approach evoking definite memories of Larry Young, while drummer Adam Nussabaum proves his extraordinary listening capacity while playing off his colleagues. The result is a stunning fusion of electrified in-your-head jazz, rooted on terra firma, gazing to the stars, and it won't let go.

John Abercrombie's longstanding partnership with Mark Feldman has yielded several albums of exquisite music, and Wait Till You See Her is no different. The mood is naturally restrained, contemplative, and introspective as you would expect, while there's a common thread of healthy respect that keeps the quartet in the softer mezzo piano range. With acoustic bassist Thomas Morgan and the irrepressible drummer Joey Baron, the electric guitarist and violinist weave their way through one standard and seven originals from Abercrombie that comes straight from the heart.

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.

Trumpeter Kenny Wheeler and his sidemen on this quintet CD (guitarist John Abercrombie, pianist John Taylor, bassist Dave Holland and drummer Peter Erskine) had all worked together previously in different settings. Their familiarity with each other's playing came in handy for the frequently intuitive session which consists of explorations of six of Wheeler's complex but often-melodic originals (including "The Widow in the Window," "Hotel Le Hot" and the lengthy "Ana"). Kenny Wheeler's music occupies its own unique area between post bop and free jazz and virtually all of his recordings are recommended to adventurous listeners, including this one.

A fresh approach to one of contemporary composition’s most iconoclastic and inventive figures, issued on the occasion of John Cage’s 100th birthday. Early Cage is the subject here, strikingly original songs and piano pieces from the 1930s and 1940s. Songs in which Cage sets words by writers whose vision was as independent as his own – James Joyce, Gertrude Stein, E. E. Cummings. As Paul Griffiths writes, “The music exists in singing that has a raw, living edge, and it exists in piano tone that can be utterly simple and utterly remarkable. There is also a third presence that of the producer, bringing forward the extraordinary resonances that come from Lubimov’s piano, with preparation or without.”

"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.

Always unique and uncompromising, John Abercrombie gained a good deal of his popularity from his solo playing. Not the virtuoso of his primary influences – Django Reinhardt, Tal Farlow and Jim Hall – Abercrombie is much more the introvert. He often bypasses traditional techniques to pursue experimental sounds and rhythms. Along with Ralph Towner, whom he has recorded with before (see Sargasso Sea), Abercrombie makes excellent use of space within both his compositions and solos. Upon the first listen there may not appear to be very much here; however, this music needs to be absorbed over several listens to appreciate Abercrombie's brilliance.

The Chicago-born master drummer hopes that his selection “will bring peace, warmth and joy to the listener”. The warm and joyful duo recording with Keith Jarrett that brought both DeJohnette and Jarrett to ECM in 1971 is reprised here - as are bright moments with Gateway, Mick Goodrick and a succession of Jack’s own bands – New Directions, Special Edition and Oneness, with soloists including Lester Bowie, David Murray and John Abercrombie.