Jack DeJohnette

[sambrasa]

Well that one, you could argue, wasn't in ECM's vault but perhaps was brought to their attention by the Japanese radio station that recorded it. But, you're right, it could have been in ECM's vault.

It does say recording engineer Jan-Erik Kongshaug and it is one of the two concerts Personal Mountains was compiled of. Ian Carr's Jarrett bio says if I remember correctly Kongshaug and Eicher recorded the whole Japan tour, so the idea of those tapes laying in ECM vaults does not appear terribly outlandish.

Edited January 30, 2013 by sambrasa

[mjzee]

Here's some more evidence that ECM may have extensive unissued sessions in their vaults:

From the Amazon blurb: "Eberhard Weber played hundreds of concerts in his time as a member of the Jan Garbarek Group, and each of them included an extended feature for the bassist alone, often effectively a spontaneous composition rather than a bass solo in strict jazz sense. For Resume Weber has returned to recordings of these solo sequences and reworked them into an album with its own sense of flow. The unique sound of Eberhards customized electric bass is heard here mostly in the context of his own keyboard settings and treatments, but also augmented by the saxophones and overtone flute of Jan Garbarek (on three tracks) and by the percussion of Michael DiPasqua. Based on live recordings made between 1990 and 2007 at locations from Karlsruhe to Santiago, the album was mixed in the South of France by Weber, Manfred Eicher, Michael di Pasqua and Gerard de Haro in 2011."

Edited January 31, 2013 by mjzee

[JETman]

Here's some more evidence that ECM may have extensive unissued sessions in their vaults:

From the Amazon blurb: "Eberhard Weber played hundreds of concerts in his time as a member of the Jan Garbarek Group, and each of them included an extended feature for the bassist alone, often effectively a spontaneous composition rather than a bass solo in strict jazz sense. For Resume Weber has returned to recordings of these solo sequences and reworked them into an album with its own sense of flow. The unique sound of Eberhards customized electric bass is heard here mostly in the context of his own keyboard settings and treatments, but also augmented by the saxophones and overtone flute of Jan Garbarek (on three tracks) and by the percussion of Michael DiPasqua. Based on live recordings made between 1990 and 2007 at locations from Karlsruhe to Santiago, the album was mixed in the South of France by Weber, Manfred Eicher, Michael di Pasqua and Gerard de Haro in 2011."

Again, these are live sessions.

[CJ Shearn]

"Live" in the sense of the source recordings, but they were enhanced by Weber in the post production process. He is still too weak to play bass but has added keyboards and additional instrumentation from what I've read about these recordings.

[JETman]

"Live" in the sense of the source recordings, but they were enhanced by Weber in the post production process. He is still too weak to play bass but has added keyboards and additional instrumentation from what I've read about these recordings.

My point was that these are NOT studio sessions that were left in the can. Unless Manfred severely changes his way of thinking, I wouldn't expect to see "unreleased" sessions ala Columbia, Blue Note, and pretty much every other label out there.

[CJ Shearn]

Yeah, I see what you are saying. Manfred has not been releasing "in the can" studio recordings but live ones like the Jarrett, the Weber and Garbarek/Haden and Gismonti. Returning to DeJohnette, I wonder if he has additional Trio Beyond recordings or plans another session with Goldings and Scofield.