Some interesting ECMs on the way

[save0904]

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.

Thanks very much Bev for the detailed response!

Edited June 29, 2009 by save

[WorldB3]

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.

ECM still manages to put a out few great releases every year that make my best of the year lists. Last year for example the Marcin Wasilewski trio album was sublimely beautiful, Nik Bartsch's Holon was a blast and ECM put up money for him to tour the states so I give them credit for that and Jason Moran pumped some life and excitement into Charles Lloyds latest live record last year which felt almost out of place for ECM.

That said however for a label that use to call itself the "creative label" it seemed like do a injustice to some of their newer artists by forcing them to have a certain samey ECM sound. Example being Mathias Eick - The Door. The live stuff I have heard from his band doesn't sound that much like the album. Not sure if he toned it down to fit to the label or the other way but it makes me hesitant to pick up the new Arve Henriksen because I am afraid they might limit his creativity, plus the reviews I have read of it makes me feel like I have heard this type of record before from ECM.

It probably wouldn't be so noticeable if I haven't been getting into so much of the early to mid 70's ECM releases which was definitely its golden age.

[save0904]

Thanks very much Bev for the detailed review!

A response, Save, rather than a review! I imagine others will hear the music in other ways.

You're completely right, I corrected it.

[NIS]

WorldB3,

I really agree with the final sentence of your last post. For my taste, ECM put out a large number of terrific albums in that period. That was the stuff that got me looking in the "jazz section". Of coarse it was LPs and the record store at the time not the internet.

[GA Russell]

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

marcello, I listened to this in November a couple of times and it didn't move me, so I put it away and forgot about it.

Seeing your post, I decided to revisit the album over the weekend, and I found that this is another album whose first track I don't like, and that colored my view of the entire album.

Yesterday I tried it skipping the first track, and I loved it! So here's a big thumbs up.

[Mark Stryker]

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.

Lots of insightful comments here. Thanks, Bev. At the risk of stealing from my own upcoming review in Sunday's Detroit Free Press, let me add some thoughts.

1. I love the record: poetic, patient and full of concentrated adventure. Beyond Vitous, the players are not stars but they're really in tune with each other and the whole is greater than the sum, etc. At 50 minutes, there's no filler, no meandering and it can be digested in a single sitting. It's a reminder that most CDs today are way too long.

2. While Vitous eschews some of the obvious sound world elements of early Weather Report like the electric shimmer, the collectivist aesthetic here is deeply rooted in Zawinul's mantra "We always solo, we never solo" (or is it, "We never solo, we always solo"?)

3. Bev's point about Miles' is right on. One of the interesting things about the record is the way it reminds you how indebted conceptually WR's early aesthetic was to the Second Quintet and the Holland/Corea extension.

4. In a blindfold test you could probably guess that the bassist was the leader by the way by the action tends to flow through him; Vitous' tightly wound, springy sound (pizzicato and arco), cuts through the diaphanous textures and lives in the forefront of the ensemble.

5. The obsessive avoidance of an explicitly stated groove is the one weakness. There are two moments of a few seconds each where the music develops to a point where Vitous begins to walk and drummer Gerald Cleaver responds with a 4/4 ride cymbal. But the bassist immediately stops and shifts directions, as if he were afraid of breaking a rule against swinging. Of course, there's nothing wrong with not wanting to swing in the traditional sense, but there is something wrong about refusing to let the music go where it so obviously and naturally wants to go -- and, in fact, has already gone, until Vitous pulls it back. Frustrating.

6. Finally, I do hear the references to both Miles and Dvorak in "When Dvorak Meets Miles." The melody is an abstracted variant of the spiritual-like "Largo" ("Goin' Home") from the "New World Symphony."

Edited July 3, 2009 by Mark Stryker

[Lazaro Vega]

Been very gratefully programming Remembering Weather Report all week. The idea of an equal whole, where musical roles are shared co-equally, is heartening to hear performed at this level. Cleaver and Vitous set up some swinging grooves on Universal Syncopations, the previous recording. Gerald's been happening for a long time now. Need to pick up his solo cd on, was it?, Criss Cross?

[mikeweil]

Miroslav Vitous Group

Remembering Weather Report

Miroslav Vitous double-bass

Franco Ambrosetti trumpet

Gary Campbell tenor saxophone

Gerald Cleaver drums

Michel Portal bass clarinet

Variations On W. Shorter

Variations On Lonely Woman

Semina (in 3 parts)

Surfing With Michel

When Dvořák Meets Miles

Blues Report

Recorded Recorded fall 2006 and spring 2007

ECM 2073

(Hopefully exploring some of the very earliest textures)

Now I have somethingto check out when visiting my favourite Frankfurt store tomorrow ...

I did check this out, and took it home. It does not really explore some of the earliest textures of Weather Report, but goes beyond, leave it far behind. It is mostly free form playing, and is exploring in that sense, for sure, like a very open, sometimes sparse, free form setting like some of the less angry moments of Ornette Coleman or the late John Coltrane quartet of "Stellar Regions". Definitely a very serious attempt at taking jazz further beyond paths explored. Credits go to drummer Gerald Cleaver for not bashing it all to pieces. All members of the group play equal parts, there are no conventional roles of accompanying and soloing, except when Portal comes in on a few tracks, where he takes kind of a soloist's role in front of the band. Certainly something to check out. I'm positively surprised and impressed ...

:tup

Edited July 10, 2009 by mikeweil

[mikeweil]

Been very gratefully programming Remembering Weather Report all week. The idea of an equal whole, where musical roles are shared co-equally, is heartening to hear performed at this level. Cleaver and Vitous set up some swinging grooves on Universal Syncopations, the previous recording. Gerald's been happening for a long time now. Need to pick up his solo cd on, was it?, Criss Cross?

Fresh Sound New Talent:

... or AUM Fidelity:

Samples at http://www.myspace.com/geraldcleavermusic

Edited July 10, 2009 by mikeweil

[Van Basten II]

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

Agreed : very interesting record.

I second it , excellent record.

[A Lark Ascending]

Listened to this for the first time last night:

Really good to hear John in a straight quartet format again. There's an interview in the new Jazzwise where he acknowledges that his recorded discography has been somewhat unbalanced, highlighting the more arranged special projects rather than the horn and rhythm section approach that dominates his live playing. Some really fiery playing, with Jack DeJohnette in amazing form, even if the disc as a whole is quite relaxed (similar in feel to Abercrombie's own ECMs).

Nice to read John refusing to get drawn into any form of chauvinism when asked to define British jazz. He acknowledges that his playing is informed by English folk influences but points out that most of his career has been played out across Europe as a whole. Not just a great player but always comes across as a nice, humble bloke.

[okierambler]

Listened to this for the first time last night:

Really good to hear John in a straight quartet format again. There's an interview in the new Jazzwise where he acknowledges that his recorded discography has been somewhat unbalanced, highlighting the more arranged special projects rather than the horn and rhythm section approach that dominates his live playing. Some really fiery playing, with Jack DeJohnette in amazing form, even if the disc as a whole is quite relaxed (similar in feel to Abercrombie's own ECMs).

I got it last night, too. I'm very impressed. Wouldn't have know about this one if it wasn't for you guys. Thanks!

If you haven't seen this ECM promo video, its worth watching.

[GA Russell]

I just finished playing Brewster's Rooster for the first time. I like it a lot when it sounds like a John Surman album, and not so much on a couple of tracks when it sounds like a John Abercrombie album.

I'm sure I'll be playing it a lot over the next few days.

There are parts when DeJohnette sounds like he is doing an Elvin Jones impression, which had there been no Elvin Jones would have been perfectly fine, but as it is sounds a little weak compared to what Elvin would have done.

I won't make up my mind after just one listen, but I think this is a keeper for sure.

[chewy-chew-chew-bean-benitez]

leave the ecm people alone chewy, let them wallow....

[sidewinder]

Really good to hear John in a straight quartet format again.

Did you see that performance he did at 'Jazz Britannia' with the Quartet with Chris Lawrence, John Taylor (I think it was he and not Gwilym - not sure) and John Marshall? Fantastic.

Will be sure to check out 'Brewster's Rooster' based on recommendations here.

leave the ecm people alone chewy, let them wallow....

Chewy, you don't know what you are missing !

[clifford_thornton]

If there's some classic baritone blowing, I'm in.

Taylor/Laurence/Marshall would have been SWEET!

[kh1958]

leave the ecm people alone chewy, let them wallow....

When not listening to ECM, we contemplate the superiority of East Coast over West Coast jazz....

[David Ayers]

As well as Schoof, Resonance [see my other thread in Reissues] upcoming ECMs include:

Jan Garbarek Group, Dresden: In Concert [2 CD]

Stefano Bollini, Stone in the Water

John Abercrombie, Wait Till You See Her

Anouar Brahem, The Astounding Eyes of Rita

Keith Jarrett, Paris/London - Testament [3 CDs - not sure if these are new or a repackage]

There is also a 4 CD reissue of the Corea/Burton recordings 1972-79 called The Crystal Silence

[king ubu]

Good to see ECM continuing in these bleak times!

But Bollani on ECM is wrong... (Rava maybe as well, but Rava has enough grandeur, or rather grandezza, to overcome most hindrances). Bollani's music is so joyful usually, but on ECM it gets so serious and loses much of it's momentum, to my ears. That's very much true for the Rava/Bollani disc, I feel, which can of course be lauded as a masterful album of miniatures, of boiled-down-to-the-essentials music etc etc, but in the end, the live recordings I've heard were just so much more full of joy (and of music...)

Would that Corea/Burton thingie be interesting? I've not heard any of their collaborations, not even "Crystal Silence".

The Jarrett would be new, I guess? A pair of newly released 70s solo concerts, maybe? With that tile ("Testament"...)? Now that could be interesting! Though it's been years that I played any of his solo recordings (other than The Music At night With You or whatever that "comeback" album was titled, that one is nice).

[David Ayers]

I just found this from Steve Lake on - uhhh - another forum:

Jan Garbarek Group "Dresden" - finally a live double album from the group - line up is JG, Rainer Brüninghaus, Yuri Daniel, Manu Katché.

Keith Jarrett "Testament" - solo piano from London and Paris 2008 as a 3CD set.

John Abercrombie - "Wait Till You See Her", fourth quartet album from the band with Mark Feldman and Joey Baron, with new bassist Thomas Morgan.

Anouar Brahem - "The Astounding Eyes of Rita" ... new quartet with AB, Klaus Gesing on bass clarinet, Björn Meyer on bass guitar and Lebanese percussionist Khaled Yassine.

Tomasz Stanko Quintet - "Dark Eyes". This is the 'Nordic quintet' with Finns and Danes that has been touring the festivals - TS, Alexi Tuomarila on piano, Jakob Bro on guitar, Anders Christensen on bass, and Olavi Louhivuori on drums.

Stefano Bollani Trio - "Stone in the Water" - the 'Danish trio' with SB, Jesper Bodilsen and Morten Lund

Christian Wallumrød Ensemble - "Fabula Suite Lugano" - line-up as "The Zoo Is Far" with new trumpeter Eivind Lønning.

[WorldB3]

Good to see ECM continuing in these bleak times!

But Bollani on ECM is wrong... (Rava maybe as well, but Rava has enough grandeur, or rather grandezza, to overcome most hindrances). Bollani's music is so joyful usually, but on ECM it gets so serious and loses much of it's momentum, to my ears. That's very much true for the Rava/Bollani disc, I feel, which can of course be lauded as a masterful album of miniatures, of boiled-down-to-the-essentials music etc etc, but in the end, the live recordings I've heard were just so much more full of joy (and of music...)

The new Bollani is going to be with his Danish Trio so I think it will be much more upbeat than his last solo record. I discovered Bolani on Rava's Easy Living which I think is a fantastic record. However I have been hesitant to pick up the duo disc because I felt I would probably be lacking the joy and fun that make the Rava/Bollani At Montreal releases so good, so I get where your coming from on that.

I am half way the new Surman and love it. Heck some of it even swings, plus a cover of Chelsea Bridge on a ECM release?

I know its not really Jazz but has anybody heard the new Jon Balke titled Siwan? Looks very intriguing.

http://www.siwan.no/Siwan/Siwan.html

[7/4]

I know its not really Jazz but has anybody heard the new Jon Balke titled Siwan? Looks very intriguing.

http://www.siwan.no/Siwan/Siwan.html

I'd like to, it has Jon Hassell on it.

[David Ayers]

Listening to Siwan now on Spotify. Modal, multi-traditional, large role for the (I believe) Algerian singer Amina Alaoui. She's good and the close recording helps create an intimate intensity. Slightly generalised 'world music' effect perhaps, as often with these ventures.

[Chuck Nessa]

My only ECM purchases since the '80s are by Evan Parker and Roscoe Mitchell. This might say more about me than the label, or not.

[GA Russell]

I am half way the new Surman and love it. Heck some of it even swings, plus a cover of Chelsea Bridge on a ECM release?

I've listened to Brewster's Rooster I think five times, and I like it more with each listen.