![]() ![]() Musical outsiders from Eastern European countries Since the 1980s, the label has also evolved into an address for musical outsiders from Eastern European countries, led by the Estonian Arvo Pärt. And one of the great piano cycles of the 20th century yet to be discovered, Hans Otte’s ✻uch der Klänge « (Book of Sounds), which ties in with minimalism, was interpreted with sensitive elegance by pianist Herbert Henck. ![]() A major work of minimal music, Steve Reich’s »Music For 18 Musicians«, also appeared in its first recording on ECM from 1978. The latter recently released a large box set of her albums. The stylistically dazzling pianist Carla Bley is just as much a part of the label as the performance artist Meredith Monk, who straddles the line. ECM took an interest in eccentric musical positions early on. Also loners on the six strings like David Torn or the Norwegian guitarist Terje Rypdal can be cited as examples. Or the rather low-key John Abercrombie, who released on ECM until his death in 2017 and could even coax poetry out of guitar synthesisers. That’s because the label hosts a number of jazz greats, including guitarists as diverse as the ✻ig Three« Bill Frisell, Pat Metheny and John Scofield, who grew up with the label (Frisell, Metheny) or have long been associated with it (Scofield). »The systematic work on sound has meanwhile taken on a dimension in music that shapes entire genres.« But even the less inclined cannot ignore ECM. Even if this clear and controlled aesthetic eventually became too much for some listeners, an anticipation of things that have long been taken for granted can be seen in this approach: The systematic work on sound has meanwhile taken on a dimension in music that shapes entire genres. ![]() His work is still unique in jazz and a highlight of the ECM cosmos. In addition to his fusion of classical music and epic jazz, such as on his début album »The Colours of Chloë« from 1973, he is regarded as the pioneer of the ECM sound with the unusual sound of his instrument, a malleable, springy electric double bass. Bassist Eberhard Weber is at least as important a name for ECM. With 4 million copies sold, it is considered the best-selling jazz solo album of all time. Even though Jarrett had made his breakthrough two years earlier with the »Solo Concerts: Bremen/Lausanne« with similarly spontaneous approaches, the »Köln Concert« became ECM’s cash cow. And it was all very harmonious and catchy, which contributed to his success far beyond jazz listening circles. This was because Jarrett really improvised »freely«, with spontaneously developing melodies or repetitive patterns that could not automatically be assigned to jazz. Spatial sound for loners The »Köln Concert« by US pianist Keith Jarrett from 1975 became synonymous with ECM, a live album recorded under adverse conditions in Cologne’s opera house, on which Jarrett once again approached jazz in a completely different way to Garbarek. No stuffy jazz club atmosphere… instead, the music felt like it came from a wood-panelled concert hall or a medium-sized church. He concentrated on flat sounds, slow, often elegiac melodies, recorded with a resonant recording style that was very clean and slightly reverberant at the same time. The music broke away from jazz conventions, but unlike free jazz, Jan Garbarek relied less on the anarchic removal of formal boundaries. The Norwegian saxophonist Jan Garbarek, initially a proponent of hard bop and other wild jazz styles, developed into a figurehead of the ✾CM sound« over the years. As a bonus, this set features appearances by many jazz greats-including Charlie Haden, Don Cherry, Steve Swallow, and John McLaughlin-who have contributed to Bley's unique vision.John Scofield from 25.99€ With the seventh catalogue title » Afric Pepperbird«, an artist came to ECM who was to shape the label until the Nineties. While some jazz artists can exude a notable seriousness, Bley is possessed by an impish sense of fun and irreverence-note the endearingly satirical "Baseball" and "More Brahms." But Bley also combines beauty and humor ("Fleur Carnivore," for big band), is more than capable of writing abstract and cerebral ("Ictus"), and mixes art-song with pop and folk ("Why," sung by Linda Ronstadt). This edition of the RARUM series presents a fascinating, diverse cross-section of her decade-spanning work, including a tune performed by an early-1960s Jimmy Giuffre Trio. Bley also led groups ranging from trios to orchestras, formed her own record label, and, like Duke Ellington, wrote and arranged in accordance with her collaborators' skills. Without a hint of compromise, pianist Carla Bley-inspired by bebop, jazz's avant-garde, Charles Ives, and Kurt Weill-carved a unparalleled niche for herself by contributing thoughtful compositions to others' bands (Gary Burton, ex-husband Paul Bley, even rockers NRBQ). ![]()
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