Eagerly awaited second ECM album by French-African drummer Manu Katche. Recorded in New York’s Avatar Studio in January 2007, “Playground” picks up where the best-selling “Neighbourhood” left off: in the interim the project has coalesced into a rip-roaring and fully-integrated band. Manu’s group, featuring a Polish/Norwegian confederacy of young players, is energized by his hard driving drums and by his compositions which invite spirited solos… Together, the quintet - whose strong new frontline features Mathias Eick and Trygve Seim - makes exciting, zestful music.
A specially-price limited edition compilation of Manu Katché on ECM. Here the French drummer is joined in performances of his tunes by an outstanding cast of soloists including Jan Garbarek, Tomasz Stanko, Nils Petter Molvӕr, Trygve Seim, Mathias Eick, Marcin Wasilewski, Tore Brunborg, and Jacob Young. Recorded 2004 -2012 in Oslo, New York and Pernes-les-Fontaines, and drawn from his widely acclaimed albums: Neighborhood (ECM1896), Playground (ECM 2016), Third Round (ECM 2156), Manu Katché (ECM 2284)
Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 – some 20 months after the concert captured on La Scala.
For the second ECM album by Aaron Parks – following the solo release Aborescence, which JazzTimes praised as “expansive, impressionistic… like a vision quest” – the prize-winning pianist has convened a trio featuring bassist Ben Street and drummer Billy Hart. The rhythm pair, which also teams in Hart’s hit quartet for ECM, blends fluidity and strength – what Parks calls “an oceanic” quality, producing waves of energy for the pianist to alternately ride and dive into. Find the Way has the aura of a piano-trio recording in the classic mold, from melody-rich opener “Adrift” to the closing title track, a cover of a romantic tune Parks grew to love on an LP by Rosemary Clooney and Nelson Riddle. Parks also drew inspiration for this album from the likes of Alice Coltrane and Shirley Horn (for whom Hart played); space and subtlety are a priority.
This double album, recorded in Vienna and in Riga in June 2015, includes all four of the chamber symphonies written in the last decade of Polish-born Soviet composer Mieczyslaw Weinberg’s life, plus a beautiful new arrangement – by Gidon Kremer and Kremerata percussionist Andrey Pushkarev – of the early Piano Quintet of 1944, heard here in a premiere recording. It is a recording which underlines the importance and originality of Weinberg’s music. For Gidon Kremer, “Weinberg has become a source of unlimited inspiration. No other composer has entered my own and Kremerata Baltica’s repertoire and program concepts with such intensity.” Weinberg’s chamber symphonies are Kremer says, “the most personal reflections of a great composer on his own life and his generation, like a diary of the most dramatic period of the 20th century.”
Armenian-American violist Kim Kashkashian, one of the major musical voices of ECM New Series, introduces a new duo with Russian composer-pianist Lera Auerbach. Their first recording together features Auerbach’s viola and piano version of Dmitri Shostakovich’s often playful 24 Preludes op. 34, and Auerbach’s own, darker, sonata for viola and piano, Arcanum. Lera Auerbach says, “Arcanum means ‘mysterious knowledge’, and I was fascinated by the inner voice within each of us, some may call it perhaps intuition, some maybe guided meditation, but there is some knowledge that we have, which we may not necessarily verbalize or rationalize, but that allows us to see the truth, to be guided, to seek answers.” Auerbach wrote her sonata for Kashkashian: “There is a quality of life-or-death-intensity to her performing, which is rare and wonderful.”
Founded in 1978, the Orchestre de chambre de Paris quickly established its reputation as one of Europes leading chamber orchestras. In 2012, Thomas Zehetmair was appointed the orchestras principal conductor and artistic advisor and on this recording, made at the Theatre des Champs-Elysees in February 2014, does double duty as both soloist and conductor.
The second ECM New Series album to fully showcase pure-toned Estonian vocal group Vox Clamantis and its artistic director/conductor Jaan-Eik Tulve is devoted to compositions by their great countryman, Arvo Pärt – whose music has been the most performed globally of any living composer over the past five years. This album – titled The Deer’s Cry after its first track, an incantatory work for a cappella mixed choir – is also the latest in an illustrious line of ECM New Series releases to feature Pärt’s compositions, the very music that inspired Manfred Eicher to establish the New Series imprint in 1984.
The second recording by Old and New Dreams was, like its first from three years earlier, named after the group. Trumpeter Don Cherry, tenor saxophonist Dewey Redman, bassist Charlie Haden, and drummer Ed Blackwell made for a mighty team, performing high-quality free bop in the tradition of the Ornette Coleman Quartet (of which they were all alumni). In addition to two of Ornette's tunes (including a lengthy exploration of "Lonely Woman"), the musicians each contributed an original of their own. Stirring music in a setting that always brought out the best in each of these musicians.
Norwegian guitarist Jacob Young’s sophomore effort follows coolly on the heels of his debut, Evening Falls. The wealth of Scandinavian talent at his side is enviable, to say the least. Trumpeter Mathias Eick, reedman Vidar Johansen, bassist Mats Eilertsen, and drummer Jon Christensen bring their uniquely tessellated feel for rhythm and hues to ten of Young’s originals, of which the title track sets the stage with the bandleader’s unmistakable acoustic. Mallet-caressed cymbals, trumpet, bass clarinet, and upright bass comingle in simpatico resonance, riding a slow and steady frequency from start to finish.