New Albums on VinylFrom Analog MastersSpring 2017ECM New Series

Vinyl

ECM

4345460

I New Albums on Vinyl

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Wolfgang Muthspiel Rising Grace

Wolfgang Muthspiel — whom The New Yorker hascalled “a shining light” among today’s jazz guitarists —made his ECM leader debut in 2014 with the trio discDriftwood, featuring him alongside two longtime colleagues, bassist Larry Grenadier and drummer BrianBlade. For his follow-up — Rising Grace — the Austrianguitarist has convened a very special quintet, addingjazz luminary Brad Mehldau on piano and the out-standing young trumpeter Ambrose Akinmusire to the subtly virtuosic Grenadier/Blade rhythm section. Muthspiel moves between electric guitar and classi-cally tinged acoustic six-string, his playing by turnsgrooving (“Boogaloo”) and enchanting (“RisingGrace”). The lyrical flights of Akinmusire’s trumpet andthe probing improvisations of Mehldau run throughMuthspiel’s rich set of compositions like goldenthreads, the tracks including a warm tribute to a late,great ECM artist, Kenny Wheeler (“Den Wheeler, Den Kenny”). Rising Grace also includes a deeply melodious piece that Mehldau composed especially for the album, “Wolfgang’s Waltz.”

Wolfgang Muthspiel guitarAmbrose Akinmusire trumpetBrad Mehldau pianoLarry Grenadier double bassBrian Blade drums

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ECM 2515 „Einzigartig war in dieser Band das Interplay. Das hatmit dem Konzept zu tun: So lassen Muthspiels Arrange-ments Themen und Motive zwischen den Registernfließen. Überdies lenken sie die Improvisation immerwieder in kollektive Passagen, in denen es nicht um geballte Kräfte geht, sondern eher um animalisch-anmutige, dynamisch verfeinerte Dialoge.“— Neue Zürcher Zeitung

W O L F G A N G M U T H S P I E L

R I S I N G G R A C E

A M B R O S E A K I N M U S I R E

B R A D M E H L D A U

L A R R Y G R E N A D I E R

B R I A N B L A D E

E C M

2-LP 180g Vinyl 479 9787

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ECM 2499

LP 180g Vinyl 5717024

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On his second leader album for ECM — following onfrom the prizewinning Gefion — Danish guitarist Jakob Bro continues to refine his trio project, with itsemphases on melody, sound, space, layered tex-tures and interaction. The rapport between Bro and Thomas Morgan (Bro calls him “my musical soulmate”) has become something extraordinary, andoften guitarist and bassist develop improvisationalideas in parallel. There’s an historical aptness, too, in the choice of Joey Baron as the band’s new drum-mer, for Bro first encountered Morgan when thebassist was playing in Baron’s band a decade ago… On Streams Joey Baron dives into the music’s detailwith obvious pleasure. This recording features fivenew Bro pieces: “Opal”, “Full Moon Europa”, “ShellPink”, “Sisimiut” and “Heroines” (heard in both a trioversion and a particularly lovely solo version). Com-pleting the album’s repertoire is the freely improvised “PM Dream”, dedicated to the late Paul Motian.Jakob’s approach to melody acknowledges the influ-ence of Motian, and both Bro and Morgan played in thelate drummer’s ensembles. Recorded at Studios LaBuissonne in the South of France in November 2015and produced by Manfred Eicher, Streams is issued on the eve of a major tour by the Bro-Morgan-Barontrio with dates in Denmark, the Netherlands, Slovakia,Belgium, Poland, Switzerland, Germany, Austria, Slovenia, Ukraine and South Korea.

Jakob Bro Streams

Jakob Bro guitarThomas Morgan double bassJoey Baron drums

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ECM 2488“One of the most anticipated discs of the year.” — Downbeat

2-LP 180g Vinyl 478 4864

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There is a lot of history concentrated in Jack DeJoh -nette’s adventurous new trio. Fifty years ago, as aguest with John Coltrane’s group, Jack DeJohnetteplayed with the fathers of Ravi Coltrane and MatthewGarrison, and the programme of In Movement openswith Coltrane’s harrowing and still pertinent elegy“Alabama”. “Serpentine Fire” is from the songbook ofEarth, Wind and Fire, offered as a tribute to MauriceWhite — who also collaborated with Jack in the earlyyears. “The Two Jimmys” is an hommage to Jimi Hendrix and Jimmy Garrison, innovators both, and“Rashied” salutes the late Rashied Ali, another greatdrummer from Coltrane’s cosmos. For all the wealth ofreferences, this is indeed a band in movement, takingthe music forward, as the title track affirms. RaviColtrane and Matt Garrison, in their ECM debuts, bothrespond magnificently to DeJohnette’s driving drum-ming, Ravi with superb solos, Garrison with lean bass lines and imaginative looping electronics. JackDeJohnette: “We are connected at a very high andextremely personal level that I believe comes throughin the music.”

„Die Behutsamkeit, mit der sie so unterschiedliche Vorlagen, wie John Coltranes ‚Alabama‘ oder ‚Serpen -tine Fire‘ von Earth, Wind and Fire von jeg lichem Kontext befreien, darf nicht darüber hinweg täuschen,dass In Movement eine der fundiertesten Ausein-andersetzungen mit dem ist, was Jazz auch in Zeitender Retro-Seligkeit und elektronischen Mög lichkeit eben immer noch sein kann: ein Befrei ungs schlag, einAufbruch.“— Süddeutsche Zeitung

Jack DeJohnette Ravi Coltrane Matthew Garrison In Movement

Jack DeJohnette drums, piano, electronic percussionRavi Coltrane tenor, soprano and sopranino saxophonesMatthew Garrison electric bass, electronics

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Carla Bley Andy Sheppard Steve Swallow Andando el Tiempo

Carla Bley pianoAndy Sheppard tenor and soprano saxophonesSteve Swallow bass

Andando el Tiempo features new music of wide emotional compass by Carla Bley, and underlines heroriginality and resourcefulness as a jazz composer.“Saints Alive!” sets up animated conversationsbetween the participants with striking statementsfrom Steve Swallow’s bass guitar and Andy Shep-pard’s soprano sax. The stately “Naked Bridges/Diving Brides” draws inspiration from Mendelssohnand the poetry of Paul Haines. And the powerful three part title composition — which addresses the trials and tribulations of recovery from addiction — movesthrough sorrow to hopefulness and joy. The trio with Sheppard and Swallow has been an ideal vehicle for Carla’s writing for more than 20 years and also provides one of the best contexts for her unique pianoplaying.

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“Andando el Tiempo is a showcase for Ms. Bley’s intimate music, and it features superb, reserved performances in a trio setting featuring two longtime collaborators, bassist Steve Swallow and saxophonist Andy Sheppard.”— Wall Street Journal

ECM 2487

LP 180g Vinyl 478 4863

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Avishai Cohen impressed a lot of listeners with his soulful contributions to Mark Turner’s Lathe of Heavenalbum in 2014. Now the charismatic Tel Aviv-born trumpeter has his ECM leader debut in a programme of expansive and impressionistic compositions for jazzquartet (trumpet, piano, bass, drums), augmented bytenor saxophone on a few pieces. Into The Silence isdedicated to the memory of Avishai’s father David,reflecting upon the last days of his life with grace andrestraint. Avishai’s tender muted trumpet sets the emotional tone of the music in the album’s openingmoments and his gifted cast of musicians explore its implications. Israeli pianist Yonathan Avishai hasplayed with Cohen in many settings and solos cre-atively inside the trumpeter’s haunting compositions,sometimes illuminating them with the phraseology ofthe blues. Cohen and drummer Nasheet Waits have ahypersensitive understanding and their interaction can,from moment to moment, re call the heyday of MilesDavis and Tony Williams or Don Cherry and Billy Hig-gins. Yet this music, while acknowledging inspirationalsources, is very much of our time. Bassist Eric Revis, a cornerstone of the Branford Marsalis quartet for twodecades, provides elegant support throughout. Andsaxophonist Bill McHenry, a subtle modernist who hasworked with Paul Motian and Andrew Cyrille, shad-ows Cohen’s lines with feeling.

„Der Trompeter Avishai Cohen zeigt auf seinemgran diosen neuen Album, wie man Vorbildern entkommt. Es ist für einen Trompeter mit Hang zuMelancholie wie Avishai Cohen nicht leicht, demSchatten von Miles Davis zu entkommen. Man stutztbei seinem neuen Album Into The Silence auch erst einmal. […] Das fesselt vom ersten Moment an,weil da eine Vertrautheit entsteht.“ — Süddeutsche Zeitung

Avishai Cohen Into The Silence

Avishai Cohen trumpetYonathan Avishai pianoEric Revis double bassNasheet Waits drumsBill McHenry tenor saxophone

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ECM 2482 “Cohen is a multicultural jazz musician, among whose an cestors is Miles Davis. Like Davis, he can make the trumpet a vehicle for uttering the most poignanthuman cries.” — Jazz Times

2-LP 180g Vinyl 476 0091

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ECM 2465

2-LP 180g Vinyl 476 6532

“Ein Wunder an Ausdruckskraft und musikalischer Delikatesse.“— Frankfurter Allgemeine Zeitung

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What was saidTord Gustavsen Simin Tander Jarle Vespestad

What was said brings new colours to Tord Gustav sen’smusical palette. His latest trio project builds upon the subtle understanding of his long musical associa-tion with drummer Jarle Vespestad, introduces German-Afghan vocalist Simin Tander, and exploresthe tradition of Norwegian church music in untra -ditional ways: “For the repertoire of the new project,Simin and I have been working with Afghan poet B. Hamsaaya, translating and shaping a selection ofhymns that I grew up with in Norway into Pashto,”Gustavsen explains. “This process has been chal-lenging and really fruitful. We have gone quite far in interpreting the lyrics in a more integralmanner, reaching into a space where I feel that Sufism andChristianity actually meet.” Simin Tander also sings, in English, verse of Persian mystic Jalal al-Din Rumi(1207–73) and US proto-Beat poet Kenneth Rexroth(1905–82). As a pure play of sounds, too, the com-bination of Tander’s voice and Gustav sen’s piano and discreet electronics has an emotional persuasive-ness of its own, outside the limits of language.

Tord Gustavsen piano, electronicsSimin Tander voiceJarle Vespestad drums

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ECM 2464

2-LP 180g Vinyl 476 4790

“Nik Bärtsch’s Mobile is a unique acoustic group thatcreates shapely and pristine chamber jazz. The eighttracks on Continuum are marvels of control and ten-sion — as much atmosphere as groove. At the sametime, these deeply worked cuts are intensely rhythmic,if irregular. This is an album of edgy beauty.”— Downbeat

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Nick Bärtsch’s Mobile Continuum

After three studio albums — Stoa (2006), Holon (2008)and Llyria (2010) plus one live-double-CD (2012) — with his electric band Ronin Swiss keyboardist/com-poser Nik Bärtsch now presents a new album with his original group Mobile (whose line-up overlaps with the current Ronin cast). Mobile, originally founded in 1997 (and on the new album augmented on threetracks by a string quintet), is at the source of Bärtsch’sritualistic approach to music making. This approachhas been formed by his work with concepts of re-duction and repetition as well as his fascination withJapanese culture. Here textures from jazz, funk, new music, minimal as well as ritual music are organ-ically interwoven in the service of an energetic groupsound.

Nik Bärtsch pianoSha bass clarinet and contrabass

clarinetKaspar Rast drums, percussionNicolas Stocker drums, tuned percussion

Etienne Abelin violinOla Sendecki violinDavid Schnee violaSolme Hong celloAmbrosius Huber cello

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Vijay Iyer Trio Break Stuff

“Break Stuff” is what happens after formal elementshave been addressed. Vijay Iyer calls the break “a spanof time in which to act. It’s the basis for breakdowns,breakbeats, and break dancing... it can be the momentwhen everything comes to life.” A number of thepieces here are breakdowns of other Iyer construc-tions. Some are from a suite premiered at New York’sMuseum of Modern Art, some derive from Open City, a collaboration with novelist Teju Cole and largeensemble. The trio energetically recasts everything ittouches. “Hood” is a tribute to Detroit techno pioneerRobert Hood. On “Work”, Vijay pays homage to his“number one hero”, Thelonious Monk. “Countdown”reconsiders the classic Coltrane tune inside a rhythmicframework inspired by West African music. “MysteryWoman” is driven by compound pulses which owe adebt to South Indian drumming. Fast moving and quick-witted, the group has developed a strong musical iden-tity of its own, with an emphasis on what Iyer calls “co-constructing”, exploring all the dynamics of playingtogether. Yet the three players also get abundant solo space and, in a reflective moment at the album’scentre, Iyer plays a moving version of Billy Strayhorn’s“Blood Count” alone.

“The best record of Mr. Iyer’s trio […] The band’s refrac-tive language makes sense of whatever material itplays. You don’t hear the record and seize on its senseof rupture or argument. Instead, it sounds whole.”— The New York Times

„Balladesk, technoid, frei von Klischees: Meisterlichesvom Vijay Iyer Trio […] Die gängigen Klischees fehlen.Die unter den Instrumenten übliche Rollenverteilungvon Melodie, Harmonie und Rhythmus ist außer Kraftgesetzt. Streckenweise ertappt man sich dabei, einenTakt mit zu wippen, den niemand spielt: Er entstehtzwischen den Linien der drei gleichberechtigtenMusiker […] Eine Kunst der Verfugung, so verblüffendwie berauschend.“— Die Zeit

Vijay Iyer pianoStephan Crump double bassMarcus Gilmore drums

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Jahrespreis der Deutschen Schallplattenkritik

ECM 2420

2-LP 472 4304

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Mathias Eick Midwest

Mathias Eick reflects on distances travelled in thisintensely melodic set of original compositions, whichmakes an imaginative journey from Hem, the tiny Norwegian village where the trumpeter grew up, tothe vast plains of Dakota in the American Midwest. It was to the Midwest that hundreds of thousands ofNorwegians travelled by sea in the 19th and early 20thcenturies — and naturally they took their music withthem. In similar spirit Eick, a Norwegian improviser-composer strongly influenced by North American jazz,here reintegrates some of the colours and textures of his native folk music in these newly-created pieces.In the frontline of the line-up featured here he is part-nered by the brilliant violinist Gjermund Larsen, whoseroots are in the Norwegian folk tradition. Trumpet andviolin exchange lines and soar together above a bril-liant rhythm section with Jon Balke at his most lyrical,Helge Norbakken periodically finding pulses that cansuggest tribal drumming or buffalo hooves, and theresourceful Mats Eilertsen helping to drive the musicforward. The original inspiration for the album wassparked by a gruelling North American tour: “I’d beenout on the road for a long time and was feeling home-sick. Then we reached the area called the Rural Midwest and I suddenly felt as if I was home. I had a sense of why the early settlers would want to buildtheir farms there. It reminded me very much of parts of Norway.”

Mathias Eick trumpetGjermund Larsen violinJon Balke pianoMats Eilertsen double bassHelge Norbakken percussion

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ECM 2410

LP 472 4478

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ECM 2387

2-LP 472 4308

“Imaginary Cities is a breakthrough for Potter as com-poser, arranger and conceptualist. The title piece, afour-movement suite, portrays Potter’s non-specificutopian ideas about what modern urban life might be.Its richness and depth are stunning. […] He has never played on record with more focus and power.”— Jazz Times

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Chris Potter Underground Orchestra Imaginary Cities

Imaginary Cities is the recording premiere of saxo -phonist Chris Potter’s new Underground Orchestra. At the core of this larger ensemble is the personnel ofhis long-established Underground quartet — withAdam Rogers, Craig Taborn and Nate Smith — nowjoined by two bassists, a string quartet, and Potter’sold comrade from Dave Holland Quintet days, vibesand marimba man Steve Nelson. The title compositionis a suite, panoramic in its reach, with movements subtitled “Compassion”, “Dualities”, “Disintegration”and “Rebuilding”. The scope of the work, and its contrasting moods and thematic development, inspiresome of Potter’s finest playing. His saxes fly highabove his idealized cityscapes or launch into dialoguesor group improvising with its gifted inhabitants. Four further pieces — “Lament”, “Firefly”, “Sky” and “Shadow Self”— extend the feeling of the suite, successfully combining both tightly written material and very open areas involving all members of theorchestra. References are multi-idiomatic and multi-cultural, and Potter, who counts Charlie Parker withStrings amongst his formative enthusiasms, had Arabic and Indian string sections in mind, as well ascontemporary composition, when shaping this material.

Chris Potter tenor and soprano saxophones,bass clarinet

Adam Rogers guitarsCraig Taborn pianoSteve Nelson vibraphone, marimbaFima Ephron bass guitarScott Colley double bassNate Smith drumsMark Feldman violinJoyce Hammann violinLois Martin violaDave Eggar cello

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Jakob Bro Trio Gefion

Gefion is Danish guitarist Jakob Bro’s first ECMalbum as leader, following recordings for the label as sideman with Paul Motian and Tomasz Stanko. Likethe work of those masters Bro’s balladeering distils asense of jazz history in its specific and highly personalatmospheres. The open forms of Bro’s compositionsleave plenty of space for his companions — drum legend Jon Christensen and creative bassist-of-the-moment Thomas Morgan — to make their statements,interactively and in parallel. And there is space too forthe listener’s imagination to follow the flow and the delicate melodic tracery of Bro’s electric guitar in this thoughtful and poetic album.

Jakob Bro guitarsThomas Morgan double bassJon Christensen drums

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ECM 2381 “The combination of Bro’s spacious, multi layered guitar sound, with Morgan’s natural, woody bass and Christensen’s crisp, ethereal drums make for analmost mystical, meditative listening experience. Bro, Morgan and Christensen create landscapes ofsound that are achingly beautiful, sparse, yet full bodied at the same time.”— UK Vibe

LP 4724 707

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Mathias EickSkala

Mathias Eick: trumpet, vibraphone, bassTore Brunborg: tenor saxophoneAudun Erlien: electric bassAndreas Ulvo: pianoMorten Qvenild: keyboardsSidsel Walstad: harpTorstein Lofthus: drumsGard Nilssen: drums

Mathias Eick’s intensely melodic trumpet occupies the centre-stage inthis album of self-penned tunes whichwill appeal to an audience beyond“jazz”. Against the powerful backdropsoffered by his sleek, modern band,driven by two drummers, he deliversrichly lyrical soliloquies.

“A larger lineup and more detailedarrangements while never losing thelyrical path of the soloist the work isconsistently revolving around. Texturedlayers of lyrical inventiveness. Engag-ing. While the admitted influences of this release range from classical to pop, it is the brilliant use of these “pop sensibilities” that make Skalaa sonic delight.”— Digital Jazz News

ECM 2187

LP 276 3107

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The third album from one of the mostexciting young European bands, Llyrìafollows on from Stoa and Holon, therecordings that established Swiss bandRonin on the international scene.Leader Nik Bärtsch’s “modular” piecesstill define the context of the group’smusic but the committed input of theindividual Ronin members has lifted the work to the next level, blurring thedistinctions between composition, im -provisation and interpretation. Reedplayer Sha shines brightly here, and lyri-cal melodic themes make themselvesfelt, but perhaps this is, more than itspredecessors, a drummer’s record, itsbeats lovingly crafted by Kasper Rastand percussionist Andi Pupato.

“Frequently astonishing in the depthand richness of its conception,Bärtsch’s grasp and exploitation of tension and release is fascinating. Hismusic thrillingly combines a SteveReich-like minimalist aesthetic with thekind of effortless funk-punch reminis-cent of a Headhunters-era Herbie Hancock. That said, nobody currentlyon the scene comes close to soundinglike this remarkable, and remarkablyaccessible, outfit.”— BBC Radio 3

Nik Bärtsch’s RoninLlyrìa

Nik Bärtsch: pianoSha: bass clarinet, alto saxophoneBjörn Meyer: bassKaspar Rast: drumsAndi Pupato: percussion

ECM 2178

2-LP 180g Vinyl 274 7597

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ECM 2399

Keith Jarrett/Charlie HadenLast Dance

Keith Jarrett: pianoCharlie Haden: double bass

Keith Jarrett and Charlie Hadenbroaden the scope of their duo projectto showcase jazz classics like Thelo-nious Monk’s “Round Midnight” and Bud Powell’s spritely “Dance OfThe Infidels”. Love songs, however, are to the fore in this selection, with tender versions of “My Old Flame”, “My Ship”, “It Might As Well Be Spring”,“Everything Happens To Me”, and“Every Time We Say Goodbye” as wellas versions of “Where Can I Go With-out You” and “Goodbye” which areevery bit as touching as the Jasminerenditions. “When we play together it’s like two people singing”, said Jarrett of his reunion with Haden. Theintentions of the song are honoured,the shades of meaning in a melody or alyric explored instrumentally. As Char-lie Haden put it, “Keith really listens,and I listen. That’s the secret. It’s aboutlistening.”

2-LP 378 2250

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ECM 2060

Yesterdays, registered at Tokyo’s Metropolitan Festival Hall, is a fourth2001concert recording, with an all-standards programme and a strongemphasis on bebop, including CharlieParker’s “Scrapple from the Apple”,“Shaw’nuff” by Parker and Dizzy Gillespie, and Horace Silver’s “Strollin’”.There is also an exhilarating splash of ragtime in the shape of “You TookAdvantage Of Me”, and beautiful ballads including the title track and“Smoke Gets In Your Eyes” (both from Jerome Kern’s pen). As a bonus: the album concludes with a radiant“Stella by Starlight” captured at a soundcheck: Jarrett, Peacock andDeJohnette playing just for the joy of it ...

Keith Jarrett/Gary Peacock/ Jack DeJohnetteYesterdays

Keith Jarrett: pianoGary Peacock: double bassJack DeJohnette: drums

“It reflects the group’s playful light-ness and softer touch, as well as their pleasure in exploring such early styles as stride piano — but it also sustains Jarrett’s legendary capacity for improvising as if bar-lines and chorus-breaks were simply there to be brushed aside.”— The Guardian

2-LP 180g Vinyl 179 4205

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ECM 2064

Enrico RavaNew York Days

Enrico Rava: trumpetMark Turner: saxophonesStefano Bollani: pianoLarry Grenadier: double bassPaul Motian: drums

A transatlantic quintet headed by Ital-ian trumpeter Rava, recorded in NewYork in 2008 and a first ECM appear-ance for US tenorist Mark Turner,whose distilled, lean sound referencesColtrane, Warne Marsh, Wayne Shorterand others. Turner’s searching, ana-lyt ical tone is in marked contrast toEnrico’s lyrical flourishes, but the twomake a fascinating pairing — especiallywith the resolutely musical pianist Stefano Bollani finding points of con-tact, and making his own statements.Add in the gifted bassist Larry Gren -a dier (last heard on ECM with CharlesLloyd) and that most unpredictable of all drummers, Paul Motian, and youhave here a truly remarkable band.

„New York Days ist ein Album, dasbleiben wird. Es enthält einige der fein-sten Kompositionen Ravas. Und essetzt Maßstäbe nicht zuletzt aufgrunddes unerschöpflichen Reichtums an Klangtexturen, mit dem hier dasgesamte Spektrum eines Quintettsdokumentiert wird. In dieser Klang-pracht ist es freilich auch das Manifestund Vermächtnis einer Sensibilität, wie sie der New Yorker Paul Motian,keiner mehr als er, dem Jazz ver-liehen hat.“— Frankfurter Allgemeine Zeitung

2-LP 180g Vinyl 179 7340

II From Analog Masters

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Egberto GismontiDança Das Cabeças

Egberto Gismonti: 8-String guitar,piano, wood flutes, voiceNana Vasconcelos: percussion, berimbau, corpo, voice

“Gismonti and Vasconcelos might beBrazilian but you don’t need a passportto enter their musical world. Onceinside, they guide you gently, and thetrip is rarely less than revelatory. If you have an interest in music — asopposed to fashion — then Gismontiwill floor you with the devastatingpurity and endless depth of his sound.Without doubt, this is one of thealbums of the year.”— Melody Maker

John Abercrombie Jan Hammer/Jack DeJohnetteTimeless

John Abercrombie: guitarJan Hammer: organ, synthesizer, pianoJack DeJohnette: drums

„Am Intensivsten äußert sich dieserJazz in den schnellen, am schönsten inden stillen Stücken, da, wo die Klängeerregende Plastizität gewinnen.“— Die Zeit

“He displays a singular blend of intellectand emotion. Timeless, Abercrombie’sfirst date as a leader, is an impres-sive showcase of these facets, and ofhis never-before-revealed abilities asa com poser/arranger. Jan Hammer andJack DeJohnette are all the help heneeds.”— Downbeat

LP 180g Vinyl 477 4633

ECM 1047 ECM 1089

LP 180g Vinyl 374 3522

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Kenny WheelerDeer Wan

Kenny Wheeler: trumpet, flugelhornJan Garbarek: tenor and soprano saxophonesJohn Abercrombie: electric guitar, electric mandolinDave Holland: double bassJack DeJohnette: drumsRalph Towner: 12-string guitar

“Wheeler emerges a romanticist in the grand heroic mode. His composi-tions and trumpeting suggest anOlympian majesty. There is a grace and eloquence, as well as a purity of sound and purpose.”— Downbeat

ECM 1102

LP 180g Vinyl 478 1118

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Terje RypdalWaves

Terje Rypdal: electric guitar, RMI keyboard computer, ARP synthesizerPalle Mikkelborg: trumpet, flugelhorn,RMI, tac piano, ringmodulatorSveinung Hovensjø: bass guitarsJon Christensen: drums, percussion

“Rypdal’s album is a series of sonicexcursions ranging from the ex-pressionist to the impressionist and with few concessions to conformity.Rypdal’s guitar and Palle Mikkelborg’strumpet are well-matched with Manfred Eicher’s typically superb production putting it all in focus.”— Record World

ECM 1110

LP 478 1119

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Gary PeacockVoice From The Past — Paradigm

Gary Peacock: double bassJan Garbarek: tenor and soprano saxophonesTomasz Stanko: trumpetJack DeJohnette: drums

“This is a record with much to recom-mend it. Peacock, as ever, is sublimeand the perpetual motion of DeJoh -nette’s drumming maintains a superbtension. The broad toned Stanko skirts the niceties and finds somethingof consequence to say every time hewalks to the wicket but, surprisingly, it is Garbarek’s many solid innings thatare the backbone of the whole thing.”— Jazz Journal

ECM 1210

LP 180g Vinyl 478 1120

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Keith JarrettBelonging

Keith Jarrett: pianoJan Garbarek: tenor and soprano saxophonesPalle Danielsson: double bassJon Christensen: drums

“The coming-together of Jarrett’sEuropean Quartet. ‘Three ballads and three powerfully rhythmic piecesdemonstrate Jarrett’s genius for understanding and bringing out the musical essence of his associates’, as biographer Ian Car wrote. Jarrettcomposes for the springing rhythms of Jon Christensen’s drums and Jan Garbarek’s declamatory sax, with de lightful results.” — Jazz ForumRecord of the Year 1975/76

Keith JarrettFacing You

Keith Jarrett: piano

Jarrett’s first solo album, made in Oslo in 1971. Facing You is a landmarkrecording, meanwhile meticulouslystudied by generations of piano players.

“Jarrett’s playing is a precise blend of eruptive romanticism, technique,historicism and musicality.”— The New York Times

Keith JarrettThe Köln Concert

Keith Jarrett: piano

The epochal double-album. Keith Jarrett’s 1975 The Köln Concert is one of the handful of jazz records that have changed the history of themusic. The best-selling solo pianorecording of all time, this endlesslyinventive and highly lyrical recitalreveals a master improviser creatingforms in the moment.

ECM 1017 ECM 1064 ECM 1050

2-LP 180g Vinyl 272 7888

LP 180g Vinyl 274 7763

39LP 180g Vinyl 274 8125

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Keith JarrettRitual

Dennis Russell Davies: piano

Keith Jarrett and conductor-pianistDennis Russell Davies have beenfriends and musical comrades for fortyyears. In the mid-70s the St Paul Cham-ber Orchestra, under Davies’ directionpresented Jarrett’s chamber music. In the 90s Jarrett recorded the Mozartpiano concertos with Davies and theStuttgarter Kammerorchester. Near thebeginning of their association, Jarrettinvited Davies to play a composition he had written for solo piano. To listento Ritual is akin to experiencing thecore of a Jarrett solo concert. The inter-preter may be different, but the lyricalexpression is remarkably consistent.As Dennis Russell Davies says: “Thosewho know Keith will hear him in thismusic. It couldn’t have been written byanyone else.”

Keith JarrettArbour Zena

Keith Jarrett: pianoJan Garbarek: tenor and soprano saxophoneCharlie Haden: double bassMembers of the RSO StuttgartMladen Gutesha: conductor

“I consider this one of my most richlylyrical and consistently inspired works,” wrote Keith Jarrett of ‘Mirrors’,the almost half-hour long concluding piece on Arbour Zena.“Jan Garbarek’s contribution is irreplaceable and ec -static.” It is easy to agree that ArbourZena as a whole is one of Jarrett’smost exceptional albums. Evocativewriting for strings, beautiful playing by Keith and Jan and by Charlie Hadenat his most soulful, and a glowingpanoramic production make this 1975recording one of the finest of the early ECMs.

ECM 1070 ECM 1112

LP 180g Vinyl 374 3505

LP 180g Vinyl 374 3519

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Keith JarrettMy Song

Keith Jarrett: pianoJan Garbarek: tenor and soprano saxophonePalle Danielsson: double bassJon Christensen: drums

The sequel to Belonging is one of the most perfectly lyrical small grouprecordings in jazz, with magical rap-port between piano and saxophone.

“Keith’s lovely, liquid melodies are played beautifully by Jan Garbarek,the unison lines sounding as thoughfrom one person.” — Jazz Journal

Keith Jarrett TrioTribute

Keith Jarrett: pianoGary Peacock: bassJack DeJohnette: drums

Keith Jarrett TrioStill Live

Keith Jarrett: pianoGary Peacock: bassJack DeJohnette: drums

ECM 1115 ECM 1420ECM 1360

LP 180g Vinyl 274 8126 2-LP 180g Vinyl 835 0081

2-LP 180g Vinyl 847 1351

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Pat Metheny Group

Pat Metheny: 6- and 12-string guitarLyle Mays: piano, Oberheim synthesizer, autoharpMark Egan: bassDan Gottlieb: drums

Pat Metheny GroupAmerican Garage

Pat Metheny: 6 and 12-string electricand acoustic guitarsLyle Mays: piano, Oberheim, autoharp, organMark Egan: bassDan Gottlieb: drums

Metheny’s young quartet paid homageto rock and pop roots in this 1979album of breezy charm, whose tunes,all written by Metheny and Lyle Mays,often suggest the wide-open spaces of rural Missouri. Opening track “(Cross the) Heartland” was a MethenyGroup signature song for many years,and the album topped the jazz best-seller lists and penetrated Billboard’srock charts, too.

Pat Metheny80/81

Pat Metheny: acoustic and electric guitarsCharlie Haden: acoustic bassJack DeJohnette: drumsDewey Redman: tenor saxophoneMichael Brecker: tenor saxophone

Metheny’s strongest improvisationalrecording brought him into the orbit ofsome heavy players. On this doublealbum, the 26-year-old guitarist couldengage with the saxophones of DeweyRedman and Michael Brecker, and ridethe surging pulsations supplied by a first-ever rhythm section teaming ofCharlie Haden and Jack DeJohnette.

“What results in an always fascinating,often provocative performance from allinvolved. Mike Brecker’s marvelousswooping and soaring improvisation of‘First Folk Song’ is one of his finestrecorded moments.” — High Fidelity

LP 180g Vinyl 274 9654LP 180g Vinyl 272 7889

ECM 1180 ECM 1114ECM 1155

2-LP 180g Vinyl 272 7890

43

Pat Metheny Group Travels

Pat Metheny: guitar, guitar synthesizerLyle Mays: piano, synthesizer, organ,autoharp, SynclavierSteve Rodby: acoustic bass, electric bass, bass synthesizerDan Gottlieb: drumsNana Vasconcelos: percussion, voice, berimbau

On the live Travels, recorded on a1982 US tour, the scope of Metheny’smusic was being expanded in two different directions. Increasing use ofguitar synthesizer, together with thebanks of keyboard synths, suggestedfuturistic textures. At the same time,Nana Vasconcelos’s berimbau and per-cussion anchored the music in theearth. From here on, Brazilian rhythmswould have an increasingly importantrole to play in Pat’s work.

Pat Metheny GroupOfframp

Pat Metheny: guitar, guitar synthesizer,Synclavier guitarLyle Mays: piano, synthesizer, autoharp, organ, SynclavierSteve Rodby: acoustic bass, electric bassDan Gottlieb: drumsNana Vasconcelos: percussion, voice, berimbau

Offramp, the atmospheric third albumof the Pat Metheny Group was to prove the most successful of their ECMdiscs, selling over a million copies. The seven tunes by the creative part-nership of guitarist Metheny and keyboardist Lyle Mays now integrateBrazilian in fluences, emphasized by the percussion of Nana Vasconcelos, and bassist Steve Rodby playing bothacoustic and electric instrumentsexpands music’s range. Includes thepopular titles “Are You Going With Me”and “James” (dedicated to James Taylor).

2-LP 180g Vinyl 810 6221LP 180g Vinyl 272 7893

ECM 1216 ECM 1252

44

Chick CoreaReturn To Forever

Chick Corea: electric pianoJoe Farrell: flutes, soprano saxophoneFlora Purim: vocals, percussionStan Clarke: electric bass, double bassAirto Moreira: drums, percussion

Exhilarating performances from theoriginal Return To Forever line-up — balancing the piano and bass tag-teamvirtuosity of Chick Corea and StanleyClarke with the Brazilian soulfulness of singer Flora Purim and percussion istAirto Moreira and Joe Farrell’s sunnysax and flute and introducing tunesthat would become jazz classics —“LaFiesta”, “Crystal Silence” and “WhatGame Shall We Play Today”.

LP 180g Vinyl 272 7884

ECM 1022

45

LP 180g Vinyl 374 3515

ECM 1040 ECM 1162

Sam RiversContrasts

Sam Rivers: soprano and tenor saxophone, fluteGeorge Lewis: tromboneDave Holland: bassThurman Barker: drums, marimba

Dave Holland always described SamRivers’ groups as his finishing school. It was Sam who instructed him to play“all the music”— inside, outside, atonal,swing, blues, and all the hues of thejazz and chamber music traditions. By the time of Contrasts,Rivers andHolland had been working togetherconsistently for seven years, a power-house combination of multi-reeds anddouble bass. Of the drummers whopassed through the line-up, ThurmanBarker was one of the most creative,rippling across drum kit and marimba.Young trombone innovator GeorgeLewis had already worked with Hollandand Barker in Anthony Braxton groups. For Contrasts everyone was fired upand ready to play.

Gary Burton QuartetSeven Songs For Quartet And Chamber Orchestra

Gary Burton: vibraharpMichael Goodrick: guitarSteve Swallow: bassTed Seibs: drumsMembers of the NDR-SymphonyOrchestra, Hamburg Mike Gibbs: conductor

Sounding as fresh today as it did in1973, Seven Songs places the Gary Burton Quartet in an orchestral context,with compositions of Mike Gibbs —inspired by Messiaen and Charles Ivesas well as Miles Davis and Gil Evans —and exceptional soloing by MickGoodrick, Steve Swallow and Burtonhimself. The production is exemplary:Seven Songs set a new standard forrecordings of orchestral jazz.

LP 180g Vinyl 374 3507

46

ECM 1185 ECM 1207

Ralph Towner/John AbercrombieFive Years Later

Ralph Towner: 12-string guitar, classical guitarJohn Abercrombie: acoustic guitar, electric guitar, electric 12-string guitar, mandolin guitar

“Something special happens when theyplay together”observed Robert Palmerin the New York Times, and the parti -cipants concurred. “Playing with Johnis one of my favourite things to do,”said Ralph Towner. “I can play as muchas when playing solo, and still get toply my skills as accompanist. John issuch an amazing person to play withthat, even when he’s playing intenselyor aggressively, we somehow fittogether and there’s really no way thatwe could collide.” On Five Years Later,follow-up to their debut duo disc Sargasso Sea, their improvisationsdraw on a wider sonic palette, to tellingeffect.

Miroslav Vitous Group

Miroslav Vitous: bass John Surman: soprano and baritone saxophones, bass clarinet Kenny Kirkland: pianoJon Christensen: drums

Between 1979 and 1982, the MiroslavVitous Group was the primary outlet forthe abundant improvisational skills ofleader Vitous and John Surman. Theymade three ECM albums: this epony-mously-titled disc from 1980 is the mid-dle one. Vitous and Surman were well-matched in lots of ways, with roots andinfluences that extended beyond jazz, a love of playing freely, a commitmentto using all the sound potential of their respective instruments: Surmansinging at the top of the baritone sax’srange to match Miroslav’s fiddle-likearco flourishes on the double bass. Theredoubtable Jon Christensen sharedtheir passion for playing, as did KennyKirkland, just 24 at the time of this session, on his way to becoming one ofmodern jazz’s outstanding pianists. LP 180g Vinyl 374 3511

LP 180g Vinyl 374 3513

47

Jimmy Giuffre 31961

Jimmy Giuffre: clarinetPaul Bley: pianoSteve Swallow: double bass

These ahead of their time sessions with clarinettist Giuffre, pianist Paul Bley and bassist Steve Swallow,originally issued by Verve as thealbums Fusion and Thesis, had animpact on Manfred Eicher’s musicalthinking. In 1990, the ECM producerremixed the music, prompting evenPaul Bley to marvel: “It sounds as if it was recorded yesterday.” These masterpieces of chamber jazz includecompositions by Giuffre, as well as Carla Bley’s very first tunes for jazz group: “Ictus”, “Jesus Maria” andmore.

ECM 1438

2-LP 180g Vinyl 849 6441

48

Lester BowieWorks

Lester Bowie: trumpetJoseph Jarman: reedsRoscoe Mitchell: reedsMalachi Favors Maghostut: bassFamoudou Don Moye: drums, percussionDonald Smith: celestaFred Williams: bassPhillip Wilson: drumsStanton Davis: trumpetMalachi Thompson: trumpetRasul Siddik: trumpetSteve Turre: tromboneFrank Lacy: tromboneVincent Chancey: french hornBob Stewart: tubaBruce Purse: trumpetCraig Harris: tromboneAri Brown: tenor and soprano saxophonesArt Matthews: pianoFontella Bass: vocalsDavid Peaston: vocals

LP 837 2741

49

Charles Lloyd QuartetFish Out Of Water

Charles Lloyd: tenor saxophone, fluteBobo Stenson: pianoPalle Danielsson: bassJon Christensen: drums

“What all four musicians show is thatrestraint can lead to music which isboth vital and fascinating. This is quietmusic. Quite beautiful.”— Jazz Forum

LP 841 0881

JAPO 60002 ECM 1398

Abdullah IbrahimAfrican Piano

Abdullah Ibrahim: piano

Sometimes a musical message is sourgent that questions of recording qual-ity are almost beside the point. Infor-mally recorded in 1969 in a noisy club —Copenhagen’s famous Jazzhus Mont-martre — the flavour of this album is‘documentary’ rather than luxuri antlyhi-fidelity, yet the essence of AbdullahIbrahim’s communication comesthrough loud and clear. The listener isdrawn into the robust rhythms of hissolo piano style, as he re-examines the history of jazz from a South Africanperspective, with echoes of songs of the townships, and vamps that hintof Monk and Duke and much more.AfricanPiano has lost none of its power.

LP 374 3555

50

Jan Garbarek GroupI Took Up The Runes

Jan Garbarek: tenor and soprano saxophonesRainer Brüninghaus: pianoEberhard Weber: bassNana Vasconcelos: percussionManu Katché: drumsBugge Wesseltoft: synthesizerIngor Ántte Áilu Gaup: vocals

1990’s Runes incorporated one of the most popular of Garbarek Groupline-ups. By adding Manu Katche’s powerful drums to the establishedEberhard Weber-Rainer Brüninghaus-Nana Vasconcelos axis, the Norwegiansaxophonist had the most robust fundament from which to launch hismelodic flights. Includes the five-part“Molde Canticle”, a major work, which The Wire suggested, “might beGarbarek’s A Love Supreme”.

ECM 1419

LP 180g Vinyl 843 8501

51

ECM 1371 ECM 1396ECM 1426

ECM 1437

LP 837 1111 LP 839 6211

LP 847 9401 LP 847 9391

Paul Giger, Pierre Favre, Jan GarbarekAlpstein

Paul Giger: violinPierre Favre: percussionJan Garbarek: tenor saxophone

Masqualero – Arild Andersen, Nils Petter Molvaer, Tore Brunborg, Jon ChristensenRe-Enter

Arild Andersen: bassNils Petter Molvaer: trumpetTore Brunborg: tenor saxophone,soprano saxophoneJon Christensen: drums, percussion

Markus Stockhausen, Gary Peacock,Fabrizio Ottaviucci, Zoro BabelCosi Lontano... Quasi Dentro

Markus Stockhausen: trumpet, flugelhorn, synthesizerGary Peacock: bassFabrizio Ottaviucci: pianoZoro Babel: drums

Mikhail Alperin, Arkady ShilkloperWave Of Sorrow

Misha Alperin: piano, melodica, voiceArkady Shilkloper: french horn,jagdhorn, flugelhorn, voice

Spring 2017

54

CircleParis Concert

Anthony Braxton: reeds, percussionChick Corea: pianoDave Holland: bass, celloBarry Altschul: percussion

“This is music to get lost in — and hopefully be found in.”— Downbeat

“Paris Concert is evidence that herewas one of the most excitingly talentedbands of recent years, for these 94minutes of music simply burst withvigourous invention.”— Melody Maker

2-LP 180g Vinyl 478 0886

ECM 1018

55

Gary Burton/Chick CoreaCrystal Silence

Gary Burton: vibesChick Corea: piano

“Crystal Silence is an album of extra -ordinary musicianship and rare beauty.Rarely have two musicians been so perfectly matched, and rarely do wehear an album of such consistent excellence and originality. It is, in fact,impossible to say which track is thebest.” — Stereo

Dave Holland QuartetConference Of The Birds

Dave Holland: bassSam Rivers: reeds, fluteAnthony Braxton: reeds, fluteBarry Altschul: percussion, marimba

“Neither completely outside norremotely retro, Conference Of The Birdsstands as not just a great ’70s record,but a modern jazz classic.”— Jazztimes

LP 180g Vinyl 478 0163 LP 180g Vinyl 477 4624

ECM 1024 ECM 1027

56

Ralph TownerJan Garbarek/Eberhard Weber/ Jon Christensen Solstice

Ralph Towner: 12-string guitar, classical guitar, pianoJan Garbarek: tenor and soprano saxophones, fluteEberhard Weber: bass, celloJon Christensen: drums, percussion

„Ein Mehr an Interaktion, improvisatori-scher Sensibilität, klanglicher Delika-tesse, Vielfalt der Stimmen und Produ-zentengeschick scheint derzeit kaummöglich. Meisterstück in der kraftvollenAusgewogenheit. Stars, die sich zumharmonischen Sternbild ordnen.“— Jahrespreis der Deutschen Schall-plattenkritik

ECM 1060

LP 180g Vinyl 478 1114

57

Keith JarrettThe Survivors’ Suite

Keith Jarrett: piano, soprano saxophone, bassrecorder, celeste, osi drums Dewey Redman: tenor saxophone, percussionCharlie Haden: bassPaul Motian: drums, percussion

“The Survivors’ Suite is a brilliantlyorganized and full-blooded work whichprovides the perfect setting for all four talents. This is a very completerecord: it creates its own universe and explores it thoroughly, leaving the listener awed and satisfied.”— Melody Maker

ECM 1085 ECM 1118

Jan GarbarekPlaces

Jan Garbarek: tenor and soprano saxophonesBill Connors: guitarJohn Taylor: organ, pianoJack DeJohnette: drums

LP 180g Vinyl 478 0924

LP 180g Vinyl 478 1121

III ECM New Series

60

Paul Hindemith: Sonatas for Viola/Piano and Viola aloneKim Kashkashian/Robert Levin

Kim Kashkashian: violaRobert Levin: piano

„Ihren besonderen Rang verdankt dieAufnahme aber letztlich dem tech-nisch makellosen, rundum vitalen und brillanten Spiel Kim Kashkashians:Gerade die spezifisch ‚bratschistischen‘Effekte dieser Musik, die die profundeInstrumentenkenntnis des PraktikersHindemith verraten, sind selten mit sogroßer Spielfreude und Virtuosität zumLeben erweckt worden wie hier.“— Neue Zürcher Zeitung

„Andererseits zeigen sich die Quali tä -ten dieser Werke um so neuartiger,unverbrauchter, ja bestürzender, wennsie von überragenden Interpretengespielt werden. Als eine solche Inter-pretin erweist sich Kim Kashkashian,die mit ihrer Einspielung für Bratschesolo oder mit Klavierbegleitung Maß-stäbe errichtet, die nicht nur in derInterpretation Hindemithscher Musik,sondern auch im Bratschenspielschlechthin Geschichte machen wird.“— Neue Zeitschrift für Musik

ECM 1330

3-LP 833 3091

61

Gidon KremerEdition Lockenhaus Vol. 4&5

Gidon Kremer: violinYuzuko Horigome: violinKim Kashkashian: violaDavid Geringas: celloThomas Zehetmair: violinNobuko Imai: violaBoris Pergamentschikow: celloAnnette Bik: violinVeronika Hagen: violaThomas Demenga: cello

„Was das seit 1981 im Burgenlandangesiedelte Anti-Festival für Kammer-musik an erfinderischer Programm-planung signalisierte, setzten diese Aufnahmen aus den Jahren 1985/86fort: das besessene Aufspüren vonUnbekanntem — neben dem Drang zuunorthodoxer, gleichwohl perfekterInterpretation.“— Die Zeit

ECM 1347

2-LP 833 5061

62

Paul GigerChartres

Paul Giger: violin

„Der Schweizer Geiger Paul Gigerpräsentiert eines der überzeugendstenBeispiele ‚spiritueller‘, meditativerMusik… Obwohl die Klangtechnik sichnicht als ‚schöpferisches‘ Element vordrängt, wirkt sie doch durchweg als akustisches ‚Mikroskop‘, das fein-ste Werte und Schattierungen des Bogenstrichs und der Tonbildung nah heranholt. Geist und Technik inüberzeugender Relation.“— Frankfurter Rundschau

Walter FähndrichViola

Walter Fähndrich: viola

„Walter Fähndrichs Viola-Stücke können nicht abstrakt, sie müssen körperlich gehört werden. Das Hören selbst gleitet in jene Atempulsation über, die die Musikzuvor mit Leben gefüllt hat.“— Frankfurter Allgemeine Zeitung

ECM 1412ECM 1386

LP 8419451

LP 837 7521

63

Gavin BryarsAfter The Requiem

Bill Frisell: electric guitarAlexander Balanescu: viola, violinKate Musker: violaTony Hinnigan: celloRoger Heaton: bass clarinetDave Smith: tenor horn, pianoGavin Bryars: bassMartin Allen: percussionSimon Limbrick: percussionEvan Parker: soprano saxophoneStan Sulzmann: soprano saxophoneRay Warleigh: alto saxophoneJulian Argüelles: baritone saxophone

„Die faszinierendste seiner neuen Kompositionen After The Requiem fürStreichquartett und elektrische Gitarrekonturiert die tiefe Erfahrung vonTrauer und Vergänglichkeit. Mit langenPausen des Atemholens, dunkler Verdichtung des Klangs und soghaftenMelodiefragmenten gelingt ihm dasKunststück, jenseits aller banalen Ausdrucksmöglichkeiten, formalen Anachronismen und der Verführungs-kraft von Klischees ins Zentrum existenzieller Erfahrung vorzudringen.“— Süddeutsche Zeitung

„Gavin Bryars Musik vermisst man, vermisst sie, wie man auf Dauer musikalische Schönheit zu vermissenbeginnt. Es ist eine Schönheit, die einfach da ist, ohne zu fragen, wie sieentsteht oder was geschieht, wenn sievorbeigeht […] Die Musik atmet Klänge,die den Gegensatz zwischen Impro-visation und Komposition in reineSchönheit auflösen. Die Grenzen zwi-schen Melodie und Harmonik verwi-schen sich, manchmal verdichten sichdie Klangeinheiten zu Musikplastiken,die man umrunden, von allen Seitenbetrachten kann und in ihrer Verän-derung doch nie ihre Statik verlieren.“ — Die Zeit

ECM 1424

LP 847 5371

64

Arvo Pärt: MiserereThe Hilliard Ensemble, Orchester der Beethovenhalle Bonn

The Hilliard Ensemble Paul Hillier: conductorOrchester der Beethovenhalle Bonn Dennis Russell Davies: conductorSarah Leonard: sopranoRogers Covey-Crump: tenorJohn Potter: tenorChristopher Bowers-Broadbent: organPierre Favre: percussion

“This latest in ECM’s continuing seriesof music by Arvo Pärt strikes as being the best to date. That in itself is a high commendation: its predessorswere excellent, but this disc is out-standing.”— Gramophone

ECM 1430

LP 847 5391

65

Jan Garbarek/The Hilliard EnsembleOfficium

Jan Garbarek: tenor and soprano saxophonesThe Hilliard Ensemble David James: countertenorRogers Covey-Crump: tenorJohn Potter: tenorGordon Jones: baritone

“Garbareks purity of intonation, and the sensitivity with which he fitfullyspikes it with atonality have rarelybeen better captured on disc, and farfrom being a deliberate exercise inmusical exotica, this often sounds likethe setting that was just waiting to find him […] Mix his cherishing of into-nation and his patience in the unfurlingof minute textural variations, and it’s recipe for amajormusical event.Fasti diously performed, sometimesecstatic, and lovingly recorded, it’s anauthentic conversation between jazzand the European classical tradition.”— The Guardian

ECM 1525

2-LP 180g Vinyl 4811085

66

I New Albums on Vinyl

ECM 2515 Wolfgang Muthspiel/Ambrose Akinmusire/Brad Mehldau/Larry Grenadier/Brian Blade: Rising GraceECM 2499 Jakob Bro/Thomas Morgan/Joey Barron: StreamsECM 2488 Jack DeJohnette/Ravi Coltrane/Matthew Garrison: In MovementECM 2487 Carla Bley/Andy Sheppard/Steve Swallow: Andando el TiempoECM 2482 Avishai Cohen: Into The SilenceECM 2465 Tord Gustavsen/Simin Tander/Jarle Vespestad: What was saidECM 2464 Nik Bärtsch’s Mobile: ContinuumECM 2420 Vijay Iyer Trio: Break StuffECM 2410 Mathias Eick: MidwestECM 2399 Keith Jarrett/Charlie Haden: Last DanceECM 2387 Chris Potter Underground Orchestra: Imaginary CitiesECM 2381 Jakob Bro/Thomas Morgan/Jon Christensen: GefionECM 2187 Mathias Eick: SkalaECM 2178 Nik Bärtsch’s Ronin: LlyrìaECM 2064 Enrico Rava/Stefano Bollani/Mark Turner/Larry Grenadier/Paul Motian: New York DaysECM 2060 Keith Jarrett/Gary Peacock/Jack DeJohnette: Yesterdays

67

II From Analog Masters

ECM 1017 Keith Jarrett: Facing YouECM 1050 Keith Jarrett/Jan Garbarek/Palle Danielsson/Jon Christensen: BelongingECM 1064 Keith Jarrett: The Köln ConcertECM 1070 Keith Jarrett: Arbour ZenaECM 1112 Keith Jarrett/Dennis Russell Davies: RitualECM 1115 Keith Jarrett/Jan Garbarek/Palle Danielsson/Jon Christensen: My SongECM 1360 Keith Jarrett/Gary Peacock/Jack DeJohnette: Still LiveECM 1420 Keith Jarrett/Gary Peacock/Jack DeJohnette: Tribute

ECM 1114 Pat Metheny GroupECM 1155 Pat Metheny Group: American GarageECM 1180 Pat Metheny/Charlie Haden/Jack DeJohnette/Dewey Redman/Mike Brecker: 80/81ECM 1216 Pat Metheny: OfframpECM 1252 Pat Metheny Group: Travels

ECM 1022 Chick Corea: Return To ForeverECM 1040 Gary Burton: Seven Songs For Quartet and Chamber OrchestraECM 1047 John Abercrombie/Jan Hammer/Jack DeJohnette: Timeless ECM 1089 Egberto Gismonti: Dança das Cabeças ECM 1102 Kenny Wheeler: Deer WanECM 1110 Terje Rypdal: Waves ECM 1162 Sam Rivers: ContrastsECM 1185 Miroslav Vitous GroupECM 1207 Ralph Towner/John Abercrombie: Five Years LaterECM 1210 Gary Peacock/Jan Garbarek/Tomasz Stanko/Jack DeJohnette: Voice From The PastECM 1371 Markus Stockhausen/Gary Peacock/Fabrizio Ottaviucci, Zoro Babel: Cosi Lontano…Quasi DentroECM 1396 Mikhail Alperin/Arkady Shilkloper: Wave Of SorrowECM 1398 Charles Lloyd: Fish Out Of WaterECM 1419 Jan Garbarek Group: I Took Up The RunesECM 1426 Paul Giger/Pierre Favre/Jan Garbarek: AlpsteinECM 1437 Arild Andersen/Nils Petter Molvaer/Tore Brunborg/Jon Christensen: Masqualero/Re-EnterECM 1438 Jimmy Giuffre/Paul Bley/Steve Swallow: 3, 1961ECM 2741 Lester Bowie: WorksECM 6002 Abdullah Ibrahim: African Piano

Spring 2017

ECM 1018 Circle: Paris Concert ECM 1024 Gary Burton/Chick Corea: Crystal Silence ECM 1027 David Holland Quartet: Conference Of The Birds ECM 1060 Ralph Towner/Jan Garbarek/Eberhard Weber/Jon Christensen: SolsticeECM 1085 Keith Jarrett: The Survivors’ Suite ECM 1118 Jan Garbarek: Places

III ECM New Series

ECM New Series 1330 Kim Kashkashian/Robert Levin: Paul Hindemith, Sonatas for Viola/Piano and Viola AloneECM New Series 1347 Gidon Kremer: Edition Lockenhaus, Vol. 4&5ECM New Series 1386 Paul Giger: ChartresECM New Series 1412 Walter Fähndrich: ViolaECM New Series 1424 Gavin Bryars: After The RequiemECM New Series 1430 Arvo Pärt/The Hilliard Ensemble/Orchester der Beethovenhalle Bonn: MiserereECM New Series 1525 Jan Garbarek/The Hilliard Ensemble: Officium

Photos

Laura Pleifer 4Emanuele Maniscalco 7Peter Gannushkin 9Caterina di Perri 10, 12Øyvind Hjelmen 15Christian Senti 17Bart Babinski 18, 23Colin Eick 20Ryo Mitamura 24Martin Möll 27Patrick Hinely 29, 55 leftRoberto Masotti 34, 35, 36, 37, 45, 46 right, 55 rightTerje Mosnes 39Allan Titmuss 43Valerie Wilmer 44Wolfgang Kraus 46 leftRalph Quinke 48Rolf Frison 50Jean-Pierre Leloir 54Gabi Winter 56ECM Records 60, 62Christoph Lehmann 61Signe Mähler 63Caroline Forbes 64Friedrun Reinhold 65

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