Home » Search Center » Results: ECM Records
Results for "ECM Records"
Maciej Obara Quartet: Dominik Wania/Ole Morten Vågan/Gard Nilssen: Unloved
by Karl Ackermann
A distinct vernacular, unabashedly quixotic lyricism and an authoritative style of playing are among the notable characteristics that define Maciej Obara. The Polish saxophonist and composer had performed with Tomasz Stańko in the trumpeter's “New Balladyna Quartet" project and he has recorded with John Lindberg, Ralph Alessi, Mark Helias and Nasheet Waits. Obara was also on ...
Bjorn Meyer: Provenance
by Geno Thackara
From the fact that his best-known role consisted of a decade in Nik Bartsch's Ronin (not to ignore his other style-bending collaborations either), it's already clear that Bjorn Meyer isn't interested in what a bass or bassist is normally supposed to do. In keeping with that attitude, his solo debut puts his low-end string work to ...
Gary Peacock: Tangents
by Mike Jurkovic
Throughout his storied career, bassist/composer Gary Peacock has gone a long way to make the bass an emotive and compelling solo instrument. Yet, when one looks back on--or better yet--listens back to the myriad of great recordings he has given us both as a sideman and leader, it is his emphatic, soul-intuitive, work within the piano ...
John Abercrombie Remembered
by Dave Allen
This past August the world lost one of the most distinctive voices of jazz guitar in the past 50 years. John Abercrombie's music was a strong influence and inspiration for many guitarists and musicians developing in the '80s and '90s. His sound, touch and thoughtfulness was immediately distinctive from other guitar heroes of that or any ...
Anouar Brahem: Blue Maqams
by Mark Sullivan
Tunisian oudist/composer Anouar Brahem has been playing with jazz improvisers since the 1980s. But his earliest ECM recordings, Barzakh (1991) and Conte de l'Incroyable Amour (1992) stayed firmly in the Arabic music tradition. His recordings with jazz players began with Madar (1994) with saxophonist Jan Garbarek and tabla player Shaukat Hussain; Thimar (1997) with bassist Dave ...
ECM e le voci: Theo Bleckmann e Sinikka Langeland
by Mario Calvitti
Con gli anni, le voci hanno acquistato un carattere sempre più rilevante nel catalogo ECM rispetto ai tempi della sua fondazione, quando l'etichetta bavarese era rivolta alla pubblicazione di musica di carattere prevalentemente jazzistico e quasi esclusivamente strumentale. I primi nomi di cantanti a trovar spazio nel catalogo dell'etichetta sono stati quelli di Norma Winstone, Aina ...
Tomasz Stańko New York Quartet: December Avenue
by Giuseppe Segala
Sulla scia del precedente, intenso Wislawa, dedicato alla poetessa polacca Wislawa Szymborska, sempre realizzato insieme al New York Quartet, questo December Avenue sviluppa la medesima dimensione espressiva, intrisa di lirismo. Un quartetto che interpreta al meglio i percorsi di Tomasz Stanko, già delineati al tempo delle registrazioni con la formazione polacca dallo stesso organico strumentale che ...
Django Bates: The Study of Touch
by Karl Ackermann
Pianist, horn player, composer, and all-around musical disruptor, Django Bates brings back his Belovèd Trio for a third go-round, this time with The Study of Touch, his ECM leader debut. Bates--over his renowned career--has recorded in a full range of scenarios; a solo pianist on Autumn Fires (and Green Shoots) (JMT, 1994) and recently, a musician/arranger/conductor ...
David Torn: Making Records, Film Composition, and Working With David Bowie
by Mark Sullivan
Experimental guitarist, looper, songwriter, improviser, session guitarist, film composer, record producer, mixer...David Torn is all of those things. He is constantly on the move, looking forward to the next thing. He was last interviewed for All About Jazz in 2007 ("David Torn: A Lifetime Of Improvisation In Non-Improvisational Settings“). Our conversation mostly ranged over his many ...
Stefano Battaglia: Pelagos
by Alberto Bazzurro
Questo dovrebbe essere il settimo album di Stefano Battaglia su ECM, a partire da Raccolto, del 2005, nonché il primo inciso per l'etichetta tedesca (nel maggio 2016 alla Fazioli Concert Hall di Sacile) interamente in solitudine, formula peraltro largamente praticata dal pianista milanese su altre etichette (e ricordiamo almeno Baptism, o Il cerchio interno, o ancora ...
