Some interesting ECMs on the way

[A Lark Ascending]

Except for Keith Jarrett's albums, this is as mainstream as ECM gets. I like Kuhn. I think the album would have been better if the entire spotlight had been on him, and Joe Lovano (whom I like) weren't on it.

Between the occasional promos I receive and listening to Sirius, I haven't heard too much that has excited me in 2009. In other years, this album might not be so popular. But this year, I can see it being a best seller, and getting more than a few votes in the Downbeat Readers Poll for Album of the Year.

I can see that. Not sure how it did commercially but Kuhn's Live At Birdland from 2007 was very well received critically and deservingly so.

This one is coming out next week and I am thinking about giving it a chance, looks intriguing:

After featuring on a dozen albums with Carla Bley for WATT/ECM, Movements In Colour is Andy Sheppard s first leader album for ECM. The British saxophonist heads a specially-assembled international quintet in a program of buoyant and strongly melodic self-penned pieces. Sheppard s elegant saxophone and the strongly-contrasting guitars of Paricelli and Aarset are lifted up by the rhythmic drive of Arild Andersen s muscular bass and the crisp, dynamic tabla of Kuljit Bhamra.

Been out here a while. It's nice enough especially at the start but isn't one I've been rushing to play again. I've seem some great Sheppard gigs (including one where he duetted with a bird caught in a conservatory!) but have found his discs a bit disappointing.

(Having said that, I've been underwhelmed by Carla Bley since the early 80s; maybe other ears will hear more in Sheppard's disc as they do in more recent Bley).

Edited June 25, 2009 by Bev Stapleton

[JETman]

Except for Keith Jarrett's albums, this is as mainstream as ECM gets. I like Kuhn. I think the album would have been better if the entire spotlight had been on him, and Joe Lovano (whom I like) weren't on it.

Between the occasional promos I receive and listening to Sirius, I haven't heard too much that has excited me in 2009. In other years, this album might not be so popular. But this year, I can see it being a best seller, and getting more than a few votes in the Downbeat Readers Poll for Album of the Year.

I can see that. Not sure how it did commercially but Kuhn's Live At Birdland from 2007 was very well received critically and deservingly so.

This one is coming out next week and I am thinking about giving it a chance, looks intriguing:

After featuring on a dozen albums with Carla Bley for WATT/ECM, Movements In Colour is Andy Sheppard s first leader album for ECM. The British saxophonist heads a specially-assembled international quintet in a program of buoyant and strongly melodic self-penned pieces. Sheppard s elegant saxophone and the strongly-contrasting guitars of Paricelli and Aarset are lifted up by the rhythmic drive of Arild Andersen s muscular bass and the crisp, dynamic tabla of Kuljit Bhamra.

Been out here a while. It's nice enough especially at the start but isn't one I've been rushing to play again. I've seem some great Sheppard gigs (including one where he duetted with a bird caught in a conservatory!) but have found his discs a bit disappointing.

(Having said that, I've been underwhelmed by Carla Bley since the early 80s; maybe other ears will hear more in Sheppard's disc as they do in more recent Bley).

I'm considering getting this. What do you find so disappointing about it? Does it lack rhythmic presence without more traditional percussion?

[A Lark Ascending]

I really like the use of tabla on the opening track - I think Kuljit Bhamra was the tabla player I saw him with in the 'bird' concert.

I just find it all a bit pastel, the tunes not all that memorable. And I say that as someone who has been a long time supporter of ECM in its most pastel moments.

Don't let me put you off. I expect I came to it expecting something a bit more daring.

[JETman]

I really like the use of tabla on the opening track - I think Kuljit Bhamra was the tabla player I saw him with in the 'bird' concert.

I just find it all a bit pastel, the tunes not all that memorable. And I say that as someone who has been a long time supporter of ECM in its most pastel moments.

Don't let me put you off. I expect I came to it expecting something a bit more daring.

Thanks, Bev. I like my music to be a bit more daring as well. I'm starting to get the sense that as ECM ages, its repertoire as a whole is less and less likely to be daring. I could be wrong though, just my impression. FWIW, I'm a big fan of the label.

[alocispepraluger102]

Aug 4:

Surman/Abercrombie/Dress/DeJohnette - Brewster's Rooster

I'm looking forward to this one!

aye

[alocispepraluger102]

I really like the use of tabla on the opening track - I think Kuljit Bhamra was the tabla player I saw him with in the 'bird' concert.

I just find it all a bit pastel, the tunes not all that memorable. And I say that as someone who has been a long time supporter of ECM in its most pastel moments.

Don't let me put you off. I expect I came to it expecting something a bit more daring.

Thanks, Bev. I like my music to be a bit more daring as well. I'm starting to get the sense that as ECM ages, its repertoire as a whole is less and less likely to be daring. I could be wrong though, just my impression. FWIW, I'm a big fan of the label.

i went through an ecm phase for most of the 70s when i bought little else.

some of the early ecm has aged so very beautiful and many stand alone for their stark beauty and uniqueness..

the touchstone, crystal shadows, egberto, some of the very classy surman stuff, nice guys, eberhard, chick's solo efforts, some of the rypdal stuff, keith's gorgeous staircase, paul bley's prodigous and introverted enter, to love.

i think maybe my reactions to jarrett have colored my perspective on all of ecm for the past decade. he is barely tolerable these days and i dont know why.

i know that i have missed much really fine music.

Edited June 25, 2009 by alocispepraluger102

[A Lark Ascending]

Just acquired the Surman, Gismonti and Vitous off iTunes. An interesting weekend's listening ahead.

[David Ayers]

Jun 30:

Louis Sclavis - Lost on the Way

The Sclavis is meant to be quite rocky, based on the Odyssey.

I've been listening to the Louis Sclavis record a number of times for the past week. I would have really liked it in the 70s. It reminds me of that time's European fusion, with a rock beat and electric instruments.

I'm not really into that sort of thing now. Maybe my metabolism has slowed down! But if that sort of thing is what you are looking for, it's good.

Yeah and annoying perky melodies that sound like late 70s Camel. He's a great instrumentalist though.

Edited June 26, 2009 by David Ayers

[7/4]

Yeah and annoying perky melodies that sound like late 70s Camel.

[sidewinder]

I've seem some great Sheppard gigs (including one where he duetted with a bird caught in a conservatory!)

RFH Conservatory, 'Jazz Britannia'. Yeah, I was there too ! A couple of blackbirds singing away before bedding down for the night. Awesome.

Edited June 26, 2009 by sidewinder

[A Lark Ascending]

I've seem some great Sheppard gigs (including one where he duetted with a bird caught in a conservatory!)

RFH Conservatory, 'Jazz Britannia'. Yeah, I was there too ! A couple of blackbirds singing away before bedding down for the night. Awesome.

That's the one...though it was The Barbican. Apologies for the pedantry!

[Drew Peacock]

i think maybe my reactions to jarrett have colored my perspective on all of ecm for the past decade. he is barely tolerable these days and i dont know why.

I still enjoy Jarrett but I can understand why you feel this way. If I had to put my finger on 'what's wrong' with Jarrett I would have to say that his trio format is stale. He needs to play with different musicians in a different setting.

[A Lark Ascending]

i think maybe my reactions to jarrett have colored my perspective on all of ecm for the past decade. he is barely tolerable these days and i dont know why.

I still enjoy Jarrett but I can understand why you feel this way. If I had to put my finger on 'what's wrong' with Jarrett I would have to say that his trio format is stale. He needs to play with different musicians in a different setting.

I'm not sure I'd use the word stale...there are still great beauties to be heard. It's just that you more or less know what to expect. Listening to the recent Jarrett catalogue is a bit like walking through a museum with gallery after gallery of wonderful porcelain. It eventually becomes 'Oh, another lovely vase!'

I agree - it would be great to hear him with other musicians. Preferably some unknowns rather than a superstar session.

Edited June 26, 2009 by Bev Stapleton

[sidewinder]

I've seem some great Sheppard gigs (including one where he duetted with a bird caught in a conservatory!)

RFH Conservatory, 'Jazz Britannia'. Yeah, I was there too ! A couple of blackbirds singing away before bedding down for the night. Awesome.

That's the one...though it was The Barbican. Apologies for the pedantry!

No, of course - The Barbican. Since when did the RFH have a Conservatory? Wimpey Homes gone mad..

[GregK]

i think maybe my reactions to jarrett have colored my perspective on all of ecm for the past decade. he is barely tolerable these days and i dont know why.

I still enjoy Jarrett but I can understand why you feel this way. If I had to put my finger on 'what's wrong' with Jarrett I would have to say that his trio format is stale. He needs to play with different musicians in a different setting.

I'm not sure I'd use the word stale...there are still great beauties to be heard. It's just that you more or less know what to expect. Listening to the recent Jarrett catalogue is a bit like walking through a museum with gallery after gallery of wonderful porcelain. It eventually becomes 'Oh, another lovely vase!'

I agree - it would be great to hear him with other musicians. Preferably some unknowns rather than a superstar session.

Yes. Please, do something besides solo piano or the standards trio. All great, but time for a change. Or at the very least, do some more free stuff with the trio.

[marcello]

Arlid Anderson/Tommt Smith/Paolo Vinaccia - Live at Belleville review

Arild Andersen double-bass, live-electronics

Paolo Vinaccia drums

Tommy Smith tenor saxophone

Tracks:

1. Independency Part 1

2. Independency Part 2

3. Independency Part 3

4. Independency Part 4

5. Prelude to a kiss

6. Outhouse

7. Dreamhorse

Recorded September 2007

ECM 2078

[chewy-chew-chew-bean-benitez]

sorry, sorry, sorry, i dont have anything to futher the disucssion, i just wanted to say the title of the post again:

Some interesting ECMs on the way

ok im happy now

[AndrewHill]

Overall, I love this catalogue and I'm pleased that ECM is releasing the Touchstone series. Can't get enough of Paul Bley.

[A Lark Ascending]

That Andersen is a great record - the best thing I've heard Tommy Smith do.

[David Ayers]

You know what, I'd be the first to agree that ECM transform even the more interesting artists into a samey middle-of-the-road, but I am grateful for a label that continues to issue many new recordings, and I think it is a good idea to talk about them. For all the fuss that is made on this board about the copyright owner's right to revenue from recordings of 30 or 60 years ago, really it is current artists and releases, not reissue programs, that are important for musical practice. No-one will ever look back on the musical culture of the early 2000s to document the reissue market. I guess I am saying that as someone who has worked through much of the 'historical' material, though I'll still buy a well-edited box set, and I won't even pretend I like these new ECMs - I mainly dislike them - but at least people are trying to do something new and not just living off back catalogue.

[michel1969]

That Andersen is a great record - the best thing I've heard Tommy Smith do.

Agreed : very interesting record.

[mjzee]

You know what, I'd be the first to agree that ECM transform even the more interesting artists into a samey middle-of-the-road, but I am grateful for a label that continues to issue many new recordings, and I think it is a good idea to talk about them. For all the fuss that is made on this board about the copyright owner's right to revenue from recordings of 30 or 60 years ago, really it is current artists and releases, not reissue programs, that are important for musical practice. No-one will ever look back on the musical culture of the early 2000s to document the reissue market. I guess I am saying that as someone who has worked through much of the 'historical' material, though I'll still buy a well-edited box set, and I won't even pretend I like these new ECMs - I mainly dislike them - but at least people are trying to do something new and not just living off back catalogue.

Amen. Well written.

And I'll add something: if it weren't for the revenues from Keith Jarrett releases, ECM wouldn't have the money to release these.

[mjzee]

In the course of posting the Financial Times review of the recent Jan Garbarek/Hilliard Ensemble concert, I came across this book. If this hasn't been mentioned elsewhere, some might find it interesting:

Horizons Touched: The Music of ECM

[save0904]

Just acquired the Surman, Gismonti and Vitous off iTunes. An interesting weekend's listening ahead.

Indeed, this will be a pretty nice weekend. I'd like to hear your opinion on the Vitous once you got to it.

Have fun listening!

[A Lark Ascending]

Well, Save....

Disc 1: a long orchestral suite. On first listen didn't make much of an impression. But it's early days...

Disc 2: as you'd expect, some lovely guitar duets. Enjoyed this very much, though the tunes are ones he's recorded many times before.

Vitous would have been better calling it 'Remember the Weather Report I'd have liked to have been...' No funky rhythms or cartoon world musicisms - which was to be expected. What is stranger is that the album doesn't sound much like the Weather Report albums Vitous was on. No shimmering electronics or intense jams (I'm thinking the live side of ' Sing...'). All credit to the man for doing a tribute album and completely defying expectations (though I wonder how far the title is but a marketing hook).

I liked it on first listen - the trademark singing bass of Vitous, an almost deliberate avoidance of groove, mere wisps of melody - almost an 'outside' record. In fact what it reminds me of most is those single tracks that turned up on nearly every 70s ECM from Towner to Gateway where the musicians played free - only here there's a whole album of them (kiss of death to some, I know). Reminds me also of those discs John Surman did with Paul Bley.

There's a distant musing on Nefertiti, a version of Lonely Woman (the Ornette one) where the melody is allowed to sing out, a tune connecting Miles and Dvorak and sounding like neither and, the closest the album gets to a groove, a blues at the end that appears to be a variant on 'All Blues' - but even that stops and starts.

Time will tell if this one makes repeat journeys to the CD player but my first impression is of relief that he didn't do the obvious.

There's an interview with him in this month's Jazzwise. He clearly was not happy with the direction Zawinul took WR. I suppose that this is his alternative universe Weather Report record. In some respects it reverses back to the Miles Second Quintet or the Corea/Holland band as it might have been had it followed up its freer leanings instead of going down the rock route.