Back catalogue: Jazz

Review: Gateway by John Abercrombie is a captivating journey through the realms of modern jazz fusion, featuring Abercrombie's masterful guitar work alongside Dave Holland's silky-smooth bass and Jack DeJohnette's dynamic drumming. Seamlessly blends traditional and progressive jazz elements, Abercrombie's compositions showcase intricate band interplay, with tracks like 'May Dance' and 'Jamala' highlighting the trio's ability to shape melodies around each other's instrumentation. Holland's bass provides a solid foundation, grounding Abercrombie's exploratory guitar solos, while DeJohnette's drumming adds texture and depth to the ensemble. Abercrombie's experimental approach to guitar sounds, as seen in 'Sorcery 1,' adds a unique dimension to the album, enhancing its dissonant yet accessible nature. Overall, Gateway offers a rewarding listening experience for jazz and music lovers.

Review: Canadian jazz pianist and composer Paul Bley dropped this solo album in 197 on ECM, a year after he originally recorded it on September 11, 1972. It remains a landmark in ECM's solo piano legacy following Chick Corea's Piano Improvisations and Keith Jarrett's Facing You for the way it weaves a deeply expressive narrative and includes compositions by Carla Bley and Annette Peacock as well as Bley's own innovative reinterpretations of jazz standards. Tracks like 'Harlem' and 'Started' deconstruct familiar melodies into dreamlike abstractions and offer a new approach to free balladry. As biographer Greg Buium notes, the album remains "an imperishable gem."

Review: The Blue Land is Matthieu Bordenave's follow-up to his ECM trio debut and sees the addition of British drummer James Maddren, enhancing the ensemble's airy textural canvas with a more urgent, animated feel. Pianist Florian Weber's improvisations set the tone, displaying inventive tension and release. Bordenave's saxophone weaves a lyrical narrative, punctuated by bassist Moret and Maddren's perceptively timed contributions. The album strikes a delicate balance between tonal and abstract elements, as heard on the ominous title track and the meditative 'Cyrus.' With nods to Coltrane's 'Compassion"'and Jarrett-like piano, the ensemble delivers an intriguing and collectively expressive set of chamber ensemble pieces.

Review: Solo Arabian nocturnes for oud return to haunt us on Tunisian-born musician Anouar Brahem's latest full-length project, backed by stellarly moving counterpoints for cello, piano and bass. Beginning with Arab traditional music as a start-point, Brahem has, over the course of his career, slowly verged into the domains of contemporary classical and jazz. Fusing tradition and modernity, his compositions have a chiffon feel, creaseless and impeccably recorded, yet they also stomach a certain chronicity and locale, indulging harmonic modes and inherited composition techniques.

Review: Recorded in 2014 but only now seeing the light of day, this long-shelved session unites an exceptional ensemble, including the legendary American jazz alto saxophonist and composer Lee Konitz, the ever-explorative guitarist Bill Frisell, pianist Jason Moran, bassist Thomas Morgan and the rhythmic backbone of drummer Andrew Cyrille. Together, they create a meditative yet dynamic set, balancing composed frameworks with fluid improvisation. The album unfolds with 'Black is All Colors at Once' , where Moran's delicate piano textures meet Bro's shimmering guitar, setting the stage for Konitz's gracefully introspective saxophone lines. Konitz, still remarkably inventive at 86, takes a rare turn on soprano sax for Haiti, a lilting, playful piece that gently sways with a hypnotic ease. 'Milford Sound' honors the avant-garde drumming pioneer Milford Graves with a free-flowing elegance, while 'Pearl River' ventures into abstraction, as Bro and Frisell intertwine their guitars into a rich harmonic fabric. One of the album's finest moments comes with 'Mar Del Plata', a wistful, sax-free waltz that echoes Frisell's most poignant work. Throughout the set, restraint and atmosphere take precedence, with every note serving the ensemble's delicate interplay rather than sheer technical display. Taking Turns is a luminous addition to Bro's catalog, revealing new depths with each listen. Thoughtful, spacious and beautifully realised, it stands as a quietly stunning moment in modern jazz.

Review: Freigeweht was originally released in 1981 and marked the debut of Rainer Bruninghaus, the already legendary keyboardist from Eberhard Weber's Colours and the Jan Garbarek Group. He teamed with ECM luminaries Kenny Wheeler on flugelhorn, Jon Christensen on drums and Brynjar Hoff on oboe for this project whose leader was hailed by the press at the time as "the most imaginative musician to employ minimal art in jazz" by blending influences like Steve Reich into playfully evolving constructs rather than rigid ideology. Wheeler's and Hoff's contemplative tones enhance Bruninghaus's lyrical themes here and all are driven by Christensen's dynamic propulsion. A truly evocative classic.

Review: Avishai Cohen's last album, 2016's Into The Silence, was an emotional affair, with the Israeli jazz trumpeter delivering a poignant set seemingly inspired by personal tragedy. Cross My Palm With Silver wrestles with different inspirations, namely the ongoing violence in the Middle East. Cohen is joined by regular collaborators Yonathan Avishai (piano), Barak Mori (double bass) and Nasheet Waits (drums) for a set that puts his heartbreaking trumpet solos at the heart of the action. Highlights come thick and fast throughout. They include mournful opener "Will I Die, Miss? Will I Die", the abstract and involving "Shoot Me in the Leg" and the thrillingly upbeat closer "50 Years and Counting".

Review: On A New Day, Italian pianist Giovanni Guidi rekindles his enduring musical rapport with Thomas Morgan and Joao Lobo, while expanding the trio's sonic palette by adding American saxophonist James Brandon Lewis, making his ECM debut. Recorded at Studios La Buissonne in Southern France and produced by Manfred Eicher, the album captures an elevated sense of communication and innovation. Lewis's confident, unmistakable tone introduces new dialects and perspectives, enhancing the group's interplay. The quartet navigates fresh instrumental paths with fluidity, inspired by their deep-rooted partnership and heightened collaboration. The result is a dynamic blend of jazz that explores new textures and ideas, showcasing the quartet's cohesive and adventurous spirit. Guidi's piano, Lewis's saxophone, Morgan's double bass, and Lobo's drums come together to create an album that is both reflective and forward-thinking, making A New Day a compelling new listen for Jazz fans.

Review: The third album from Levon Eskenian's remarkable ensemble is its most adventurous to date. As well as reclaiming the music of esoteric teacher G. I. Gurdjieff for folk instrumentation, Zartir situates Gurdjieff in a tradition of Armenian bards and troubadours including Ashugh Jivani, Baghdasar Tbir and the legendary Sayat-Nova. In parallel, an emphasis on pieces for sacred dance reaches its apex in The Great Prayer, an entrancing collaboration between the Gurdjieff Ensemble and the National Chamber Choir of Armenia, which draws upon ritual music of multiple faiths. Arranger Eskenian says, "I believe The Great Prayer is more than a mere 'composition'. It is one of the most profound and transformative pieces I have encountered in Gurdjieff's work." Zartir was recorded in Yerevan in 2021 and mixed and completed in Munich in November 2022 by Levon Eskenian, Tigran Kuzikyan, and Manfred Eicher.

Review: Norwegian trumpeter Arve Henriksen and Dutch pianist Harmen Fraanje strike a fine balance on their latest collaborative jazz record Touch Of Time. Warm and tender throughout, this is a back-alleyed melanchole, with its stark counterpoints between piano and trumpet somehow eliciting the audio-sensation of more instrumentation than there is - a gestalt of ghosts. Gradients of emotion wax and wane like the strange blue lights that are often visible when one's eyes are closed. Produced by Manfred Eicher at the Auditorio Stelio Molo in Lugano, this is fine recording indeed.

Review: Call on the old Wise is a magnificently captivating solo album that was largely improvised in the moment. It finds pianist Nitai Hershkovits delivering some of his best work as he draws on a wide array of influences that go from his extensive work in the jazz world to more cutting-edge and contemporary explorations via plenty of his own personal classical music experiences. In it, there's a great balance of light and dark, heavy and more airy as well as rich arrays of colour and timbre. It was recorded in 2022 and produced by Manfred Eicher following his work with Oded Tzur's quartet on two acclaimed albums, Here Be Dragons and Isabela.

Review: Pianist-composer Vijay Iyer follows his 2021 ECM disc Uneasy - the first to showcase his trio featuring bassist Linda May Han Oh and drummer Tyshawn Sorey - with Compassion, another album in league with these two gifted partners. Compassion, Iyer's eighth release as a leader for ECM, continues his drive to explore fresh territory while also referencing his forebears along the way, two of them long associated with the label. The album includes a powerful interpretation of Stevie Wonder's 'Overjoyed', which Iyer selected as an indirect homage to the late Chick Corea. Another tip of the hat comes with 'Nonaah', a whirlwind of a piece by avant-garde sage Roscoe Mitchell, a key mentor for the pianist. Then there are Iyer's own melodically alluring, rhythmically invigorating compositions, ranging from the pensive title track to the hook-laced highlights 'Tempest' and 'Ghostrumental'.

Review: The welcome reissue of Jan Garbarek Quartet's Afric Pepperbird brings forth a timeless fusion of jazz and world music that was originally released in 1970. Garbarek's evocative saxophone leads the ensemble through a mesmerising exploration of African rhythms and Scandinavian jazz sensibilities. With hypnotic grooves, intricate melodies and soulful improvisations, each composition paints a vivid picture that often leads to transcendent musical experiences. The quartet's synergy is palpable throughout as they weave together elements of traditional and avant garde jazz with effortless grace. As such, Afric Pepperbird remains a seminal work in Garbarek's discography that shows both his mastery as a composer and instrumentalist while celebrating the rich diversity of global musical traditions.

Review: Keith Jarrett's 2016 European tour has already been subject to one vinyl release (Munich 2016 ) and now ECM capture another of the nights on wax. This sumptuous double album documents the pianist's solo performance at Budapest's Bela Bartok National Concert Hall, which the artist is said to have considered something of a homecoming. Comprised of suite-like structures, which are themselves made up of independent "movements", the album is a marvel of spontaneity and resourcefulness. It brims with creative energy and complex abstractions as well as more striped back and soothing pieces.

Review: Frozen Silence is the latest album by Polish saxophonist and composer Maciej Obara, made in collaboration with his working quartet; including Dominik Wania on piano, Ole Morten Vagan on bass, and Gard Nilssen on drums. Written during the pandemic, these compositions have a direct relationship with nature and isolation, exposing the introspective side of the composer. A mystical, twinkling and melodic sound abounds here, as every element in the mix pops and jut outward, in what could be one of the most dynamic, pristine and impeccably-recorded jazz albums to grace our ears this year.

Review: Pat Metheny's debut album, Bright Size Life, is a remarkable journey through jazz fusion, characterised by its lush warmth and melodic beauty. Released in 1976, it features Metheny on guitar, the late Jaco Pastorius on bass, and Bob Moses on drums. Together, they create an album overflowing with seamless synergy and musical strength. Metheny's guitar work is pristine and evocative, while Pastorius' bass playing is both precise and expressive, threading every musical needle Metheny crafts. The album opens with the majestic title track, known for its stunning melody and songs like 'Sirabhorn' and 'Midwestern Nights Dream' display a haunting and evocative atmosphere, with the latter highlighting Metheny's ability to weave intricate webs of sound. Tracks such as 'Unity Village' and 'Missouri Uncompromised' focus more on improvisation, demonstrating the trio's exceptional interplay. 'Unquity Road' stands out with its energetic and unique melody, while the album closes on a cheerful note with the bluesy Ornette Coleman cover, 'Round Trip/Broadway Blues.' Produced with exquisite clarity, Bright Size Life exudes the essence of jazz fusion, making it an amazing debut for Pat.

Review: After years of collaboration on ECM recordings, including Characters On A Wall, French clarinettist Louis Sclavis and pianist Benjamin Moussay now present a collaborative album, Unfolding. With a program of original compositions, of which two-thirds are by Moussay and the rest by Sclavis, they create an intimate and chamber-like dialogue where lyrical moments and playful inventiveness collide. Their improvisations flow patiently and explore each theme with a rare creativity. This warm, exploratory approach highlights the depth of their musical connection, and it was all recorded at Studios La Buissonne in Southern France in March 2024.

Review: Azimuth, a collaboration between John Taylor, Norma Winstone, and Kenny Wheeler, presented an enchanting blend of jazz mastery when it was released in 1977 and it still resonates to this day. The album showcases the trio's seamless interplay and innovative approach to improvisation with Taylor's delicate piano, Winstone's ethereal vocals and Wheeler's evocative trumpet creating a mesmerizing tapestry of sound. From the introspective ballads to the spirited compositions, Azimuth captivates with its emotive depth and musical sophistication. This timeless LP remains a testament to the brilliance of three exceptional musicians pushing the boundaries of contemporary jazz.

Review: Tomasz Stanko's 'September Night' is a poignant tribute to the legendary trumpeter's artistry and influence. Recorded live in Munich in 2004 and released posthumously in 2024, this album showcases Stanko's unique ability to blend melodicism with free improvisation, a hallmark of his illustrious career. Leading his Quartet with pianist Marcin Wasilewski, double bassist Slawomir Kurkiewicz, and drummer Michal Miskiewicz, Stanko delivers a mesmerizing performance. The compositions, mostly his own, demonstrate his compositional strength and the Quartet's seamless interplay. Standout tracks include the dynamic 'Celina,' the heartfelt 'Song For Sarah,' and the contemplative 'Theatrical.' Clocking in at just under 60 minutes, September Night is a enjoyable album in full. ECM can always be counted on for quality.

Review: Seeing by the Tord Gustavsen Trio is a new album that merges jazz, classical, and Scandinavian folk influences with pianist Tord Gustavsen, bassist Harald Johnsen, and drummer Jarle Vespestad all combining to offer an introspective journey through original compositions marked by delicate melodies, subtle harmonies, and intricate rhythms. Gustavsen's masterful piano work is central here as he weaves evocative textures that balance complexity with simplicity. Johnsen and Vespestad provide a rich foundation and enhance each track's depth and nuance. From haunting ballads to dynamic rhythmic interplay, Seeing is a deeply emotive world well with hearing.

Review: On My Prophet, Oded Tzur and his quartet embark on a compelling musical journey, blending jazz with an introspective improvisational style. Tzur's saxophone prowess shines as he explores new depths of expression, supported by the quartet's seamless synergy. Nitai Hershkovits's versatile piano and Petros Klampanis's melodic bass provide a rich backdrop, while newcomer Cyrano Almeida on drums adds dynamic rhythm. Recorded in Southern France under the guidance of ECM producer Manfred Eicher, My Prophet is Tzur's fifth album as a leader, delving into themes of self-discovery and spiritual discipline. Inspired by Tzur's wife, the album's goddess of music persona is a thematic prequel to his previous work, Isabela, examining the journey to authenticity. Despite facing potential cancellation during the Israel-Hamas conflict, the album's eventual fruition becomes a testament to faith and resilience. Through five mythic movements, Tzur crafts a narrative of profound emotion, from introspective murmurs to ecstatic crescendos. My Prophet stands as Tzur's most accomplished work, a daring yet focused exploration that promises to elevate listeners to transcendent heights, continuing his legacy of introspective meditations on ECM Records.

Review: Angel Song, originally released in 1997, is a landmark jazz album that has stood the test of time. The quartet session, led by the legendary Kenny Wheeler and featuring Lee Konitz, Dave Holland, and Bill Frisell, is a masterpiece of tranquil, chamber-like jazz. Wheeler's compositions are hauntingly lyrical, providing the perfect framework for the improvisational brilliance of the ensemble. Konitz's alto saxophone weaves effortlessly with Wheeler's flugelhorn and trumpet, creating expressive and melodic dialogues. Dave Holland's bass provides a solid foundation, allowing Bill Frisell's guitar to soar with harmonically rich improvisations. The absence of a drummer adds to the intimate and introspective nature of the music, allowing each musician to shine in their own right. The vinyl release of Angel Song as part of the Luminessence series is a welcome addition to any jazz lover's collection. It's a timeless album that features four master musicians at the height of their powers.

Review: Originally formed for a one-time performance at the 2017 Bath Festival, vocalist and violinist Alice Zawadzki, pianist Fred Thomas and bassist Misha Mullov-Abbado have crafted a beautifully nuanced collection of songs drawing from diverse traditions such as European folk, Sephardic Jewish, and Latin American music. The album's title, meaning Behind the Mountains in Polish, reflects its rich, cross-cultural roots. Zawadzki's haunting voice brings the listener into each piece, while Thomas and Mullov-Abbado's instrumental interplay creates an evocative, fluid backdrop. Standout tracks include 'Sueltate as Cintas', where delicate piano and bass intertwine under Zawadzki's spellbinding vocals, and 'Tonada de Luna Llena', which rises and falls with an emotional intensity that builds on Venezuelan composer Simon Diaz's melody. Throughout the album, the trio's seamless fusion of folk, jazz and classical elements creates a unique sonic palette. Thomas' arrangement of James Joyce's Gentle Lady is another highlight, blending poetic lyrics with soft instrumental flourishes. Recorded in Switzerland under the direction of ECM's Manfred Eicher, Za Gorami is a stunning result to their collective chemistry.