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Louis Sclavis: L'imparfait des langues
by John Kelman
Music has long been considered a universal language, with a syntactical potential as broad as the artists who create it. While it's not always easy to articulate in non-musical terms, it's the specific way concept is translated into sound that distinguishes any artist. Clarinetist/saxophonist Louis Sclavis has yet to record two albums for ECM with the ...
Robin Williamson: The Iron Stone
by Nenad Georgievski
Singer/multi-instrumentalist Robin Williamson's The Iron Stone is one of his most unusual ones, because it is a careful blend between experimental, improvised music and poetry. Recorded in the Welsh countryside, Williamson's third outing for ECM continues to evolve and develop what began on 2002's Skirting The River Road. While previously he favored and looked for inspiration ...
Anat Fort: A Long Story
by Martin Gladu
Notes twirl with thrilling beauty in Anat Fort's hands. Infused of the free jazz and 20th Century classical music aesthetics (especially the Second Viennese school), A Long Story, her first effort for ECM, successfully captures a talent of rare profundity and breadth. Her innate sense of textures, as well as her free-flowing lines and dramatic use ...
John Abercrombie: The Third Quartet
by Budd Kopman
John Abercrombie has recorded for ECM since 1973 (Dave Liebman's Lookout Farm (ECM, 1974)) and has credits on about fifty albums as a leader, beginning with Timeless (ECM, 1975), co-leader and sideman. The Third Quartet is the third (unsurprisingly) record by this quartet comprised of Abercrombie on guitar, violinist Mark Feldman, bassist Marc Johnson and drummer ...
Dino Saluzzi / Anja Lechner: Ojos Negros
by Budd Kopman
What is beauty? What does it mean to feel, to remember, to laugh or to cry? How can music sound both created beforehand and recreated each second? Is music a direct connection to the infinite, to our very ground of being, so we can see into the musician's soul? These and many, many ...
David Torn: Prezens
by John Kelman
David Torn has always been an unrepentant anti-guitarist. As early as his '80s work with Everyman Band and the Jan Garbarek Group he's been less about the expected guitar roles of melody, rhythm and muscular soloing and more about texture and revolutionary processing. In recent years he's brought his distinctive soundscaping concept to recordings by saxophonist ...
Stephan Micus: On the Wing
by AAJ Italy Staff
Il vagabondaggio musicale del polistrumentista tedesco Stephan Micus ha prodotto un altro dei suoi diari di viaggio. Cultore della world music totale, Micus sintetizza le tradizioni musicali di tutto il mondo utilizzandone gli strumenti tipici in un mix inedito, ottenuto creando una sorta di orchestra panetnica virtuale attraverso l'impiego di numerose sovraincisioni. Nonostante la formula si ...
Dino Saluzzi / Anja Lechner: Ojos Negros
by John Kelman
The late Astor Piazolla was undeniably responsible for bringing visibility to the bandoneon and widespread acclaim to the tango form. Over the course of the past quarter century, however, it's been Piazolla's fellow countryman Dino Saluzzi who has directed the instrument towards paths unseen. Over the course of nine ECM releases Saluzzi has explored the instrument's ...
Paul Motian: Time and Time Again
by John Kelman
One sax, one guitar, one set of drums. Who could imagine that such a spare combination could sound so rich, so complete? Drummer Paul Motian's collaboration with guitarist Bill Frisell and saxophonist Joe Lovano is well into its third decade together but, instead of settling into comfortable predictability, Time and Time Again finds the trio continuing ...
Paul Motian: Time And Time Again
by J Hunter
Of all the things that make me hold my head about Jazz at Lincoln Center, the most ridiculous item showed up in an article on the first year in their new digs, Frederick Rose Hall. In a section on J@LC's organizational mindset, an unnamed staffer reportedly dissed Paul Motian as a drummer because, “He doesn't swing. ...
