ECM and Streaming

Eicher Hand

Official press release from ECM Records:

Over the past week we have begun the process of entering streaming, and from November 17th, the full ECM catalogue will be available to subscribers to services including Apple Music, Amazon, Spotify, Deezer, Tidal and Qobuz. This simultaneous launch across the platforms – facilitated by a new digital distribution agreement with Universal Music – invites listeners to explore the wide range of music recorded by our artists in the course of nearly five decades of independent production.

Although ECM’s preferred mediums remain the CD and LP, the first priority is that the music should be heard. The physical catalogue and the original authorship are the crucial references for us: the complete ECM album with its artistic signature, best possible sound quality, sequence and dramaturgy intact, telling its story from beginning to end.

In recent years, ECM and the musicians have had to face unauthorized streaming of recordings via video sharing websites, plus piracy, bootlegs, and a proliferation of illegal download sites. It was important to make the catalogue accessible within a framework where copyrights are respected.

ECM Press Office
Munich, November 14, 2017

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Vijay Iyer Sextet: Far From Over (ECM 2581)

Far From Over

Vijay Iyer Sextet
Far From Over

Graham Haynes cornet, flugelhorn, electronics
Steve Lehman alto saxophone
Mark Shim tenor saxophone
Vijay Iyer piano, Fender Rhodes
Stephan Crump double bass
Tyshawn Sorey drums
Recorded April 2017 at Avatar Studios, New York
Engineer: James A. Farber
Assistant: Nate Odden
Mixed May 2017 by Farber, Eicher, and Iyer
Produced by Manfred Eicher

Vijay Iyer’s fifth record for ECM is the pianist’s most engaging yet. Over ten scenes, Iyer directs an original storyline with his freshly-cut diamond of a sextet. Graham Haynes (cornet, flugelhorn, electronics), Steve Lehman (alto), Mark Shim (tenor), Stephan Crump (bass) and Tyshawn Sorey (drums) are not only actors playing multiple roles; they’re also real-time producers, editors and sound designers.

“Poles” and “Threnody” provide opening and closing credits. Both nurture storms of activity from raindrops, as if celebrating the end of a draught. They also balance the mutual extremes of locking and unlocking. In the latter vein, the leading horns take turns in “Down To The Wire” and in the title track, revealing the underlying irregularities that make this music so exciting. Like oranges, Haynes, Lehman and Shim’s solos are at the peak of flavor when juiced. No wonder, when their bandleader has given them so much soil and sunshine in which to ripen.

Iyer’s clairvoyance smiles across the delightful “Nope,” breathes to fullest capacity throughout “Into Action” and expands on South Indian beats in “Good On The Ground.” The latter two are masterstrokes—thematically and in execution. The rhythm section understands that being sportive can be serious and Sorey digs especially deep. Haynes also has his monologues in “End Of The Tunnel” and “Wake,” both of which work in the cerebral tendrils of his electronics.

Far From Over is a call to listening. More importantly, it’s listening to a call, as most evident in “For Amiri Baraka.” Here the core trio of Iyer, Crump and Sorey teaches the hard lesson shrouded by all this enjoyment. Baraka himself said it best: “There cannot be any apprenticeship for freedom.” Jazz may be heard as a genre of emancipation, but Iyer understands that freedom is illusory until actualized, that communal action is the embodiment of humanity’s reach for its flame and that music is one way to keep us from getting burned in the process.

(This review originally appeared in the October 2017 issue of The New York City Jazz Record, a full PDF of which is available here.)

Avishai Cohen: Cross My Palm With Silver (ECM 2548)

Cross My Palm With Silver

Avishai Cohen
Cross My Palm With Silver

Avishai Cohen trumpet
Yonathan Avishai piano
Barak Mori double bass
Nasheet Waits drums
Recorded September 2016 at Studios La Buissonne, Pernes-les-Fontaines
Engineers: Gérard de Haro and Nicolas Baillard
Produced by Manfred Eicher
U.S. release date: May 5, 2017

One can always count on being in the moment when experiencing an Avishai Cohen record. The Israeli trumpeter proved as much when he made his ECM debut with 2016’s Into The Silence, from which he now journeys forth with this set of five originals in tow. Cohen calls the quartet assembled here—with pianist Yonathan Avishai, bassist Barak Mori and drummer Nasheet Waits—his “dream team” and the distribution of energies throughout Cross My Palm With Silver confirms it.

Although politically engaged, Cohen’s style of personal reflection takes two inward glances for each outward. The result is that he and his bandmates invariably end up in vastly different places from where they began. They carry impressions to lucid ends, all the while achieving delicate infusions of seeking and finding. “‘Will I Die, Miss? Will I Die?’” epitomizes this philosophy in an intimacy deepened by engineers Gérard de Haro and Nicolas Baillard. One may choose to focus on the melodic convergence of trumpet and piano, but greater subtleties are found beneath: bass is the heartbeat of this musical organism, drums its neural pathways.

The declamatory tenderness of “Theme For Jimmy Greene” feels all the more heartfelt for setting up the piano-less “340 Down.” The latter stumbles but never falls, balancing its tray of motivic possibilities all the way to its destination. “Shoot Me In The Leg” bleeds with Cohen’s most dynamic playing on the record. He moves through changes as fluidly as fast-forwarded footage of clouds. Waits works off Cohen’s fluttering calls, as bass and piano move with varying degrees of angle. The backing trio has a gorgeous aside before Cohen’s final word. “50 Years And Counting” finishes the album with enervating openness, giving Cohen all the space he needs to work out his expressive alchemy. All of which makes the album’s title that much more enigmatic, for his tone, if anything, is golden.

(This review originally appeared in the September 2017 issue of The New York City Jazz Record, a full PDF of which is available here.)

Tim Berne’s Snakeoil: Incidentals (ECM 2579)

Incidentals

Tim Berne’s Snakeoil
Incidentals

Tim Berne alto saxophone
Oscar Noriega clarinet, bass clarinet
Ryan Ferreira electric guitar
Matt Mitchell piano, electronics
Ches Smith drums, vibes, percussion, timpani
David Torn guitar (tracks 1 & 5)
Recorded December 2014 at “The Clubhouse” in Rhinebeck, NY
Engineer: D. James Goodwin
Assistant: Bella Blasko
Mastering at MSM Studios, München by Christoph Stickel
Produced by David Torn
U.S. release date: September 8, 2017

French philosopher Roland Barthes once faulted music criticism for relying on adjectives. The music of Snakeoil is such that adjectives do leave much to be desired. In that spirit, purged at the outset are choice adjectives that could be used to describe it: slipstream, epic, implosive, chameleonic.

For this ECM leader date, number four for Berne, the alto saxophonist reteams with clarinetist Oscar Noriega, pianist Matt Mitchell, guitarist Ryan Ferreira and drummer/percussionist Ches Smith. In the fray is producer David Torn, contributing his guitar to two tracks. “Hora Feliz” showcases the craftsmanship of everyone involved, through which electronics nestle against acoustics as mountains meet sky. Torn sets the scene before the theme jumps into frame. Such awakening, a Berne staple, keeps listeners in check. As the interconnectedness and independence alike of these musicians develop, one comes to see shadow and light in Snakeoil not as opposites but as twins.

Smith is a wonder. He lends no credence to grooves, taking his time, as in “Incidentals Contact,” to mark a beat, thereby furnishing Noriega with a fulcrum. He extemporizes at the margins while Noriega flaps his wings with abandon. “Stingray Shuffle” is another metropolis of sound, which, like “Prelude One/Sequel Too” (the album’s closer), keeps Ferreira’s fire in play around a reverie of higher notes before Berne commands his way to the finish line. But it’s “Sideshow” that gives us the goods and then some. Being the conclusion to a piece that began with “Small World In A Small Town” on this album’s predecessor, You’ve Been Watching Me, it has a past from which to draw. Mitchell does most of the lifting throughout its 26 minutes, responding as much as anticipating. Poetry shares breath with prose at every turn. Whether in Noriega’s sensitivity or Berne’s physicality, Smith’s blast of timpani or Ferreira’s finesse, the band demonstrates the ability of jazz to open doors you never knew existed. The truth of mastery lives on.

(This review originally appeared in the September 2017 issue of The New York City Jazz Record, a full PDF of which is available here.)

Smith/Taborn/Maneri: The Bell (ECM 2474)

The Bell

The Bell

Ches Smith drums, vibraphone, timpani
Craig Taborn piano
Mat Maneri viola
Recorded June 2015 at Avatar Studios, New York
Engineer: James A. Farber
Assistant: Akihiro Nishimura
Produced by Manfred Eicher
U.S. release date: January 15, 2016

After sideman appearances with Robin Williamson and Tim Berne’s Snakeoil, percussionist Ches Smith presents a bounty of original compositions on his first ECM album as leader. In the hands of his cosmically capable bandmates and label stalwarts—pianist Craig Taborn and violist Mat Maneri—Smith’s material behaves as exactly that: a substance to be formed and reformed with cymatic detail.

The title track opens the album, appropriately enough, with chimes. Microtonal harmonies from Taborn and barest caress of viola strings build anticipation over resonant vibraphone touches. From the piano arises a sweeping cinematic landscape as the mist resolves into clearer bow lines and forceful drumming. This piece shares breath with other such delicacies as “Isn’t It Over?” and “I Think.” In both, Smith treats grooves like rocks in his shoe—which is to say, as ephemeral yet memorable. And in these metallic core samples, striations of exactitude are unnecessary. As if in response to an underlying declaration of freedom, Maneri works his songcraft like a master boatman who has lost his oar but not his sense of propulsion, moving along the water with ease by power of thought instead. The effect is such that by the time Smith brings traction, the shoreline has already been confirmed as an illusion. Whether in the microscopy of “It’s Always Winter (Somewhere)” or the angular reverie of “For Days,” each member of this trio paints a halo of deference around the others’ heads, so that even the mischievous “Wacken Open Air” emits a near-palpable blast of respect.

The Bell Trio
(Photo credit: Caterina di Perri)

“Barely Intervallic” is the first of the album’s two deepest wells. This one is Maneri’s knot to unravel. The combinatory textures of Smith and Taborn allow every note from the violist a chance to speak. The monochromatic color scheme of “I’ll See You On The Dark Side Of The Earth,” on the other hand, is Taborn’s chamber of intimacy. Maneri and Smith are minimal here, the latter’s tracery is especially poignant as a lunatic origami ensues at the fringes of cohesion. In this medieval blues, distilled from the future to meet in the blessing of the here and now, Smith and his bandmates forge new understandings that suggest themselves by their very coexistence.

As in my review of Avishai Cohen’s Into The Silence, I feel compelled to note the beauty of seeing this trio at the 2016 New York City Winter Jazzfest, and how much more attuned I felt experiencing its wonders in a live setting. Perhaps it’s the blush of first exposure, but I would encourage anyone reading this to seek out the trio in person wherever and whenever possible. Not that the studio album is unworthy—just that, like a perfume, there’s only so much you can learn about its scent through the hearsay of this or any other review before getting a bottle of it to your nose.

Hamasyan, et al.: Atmosphères (ECM 2414/15)

Atmosphères

Atmosphères

Tigran Hamasyan piano
Arve Henriksen trumpet
Eivind Aarset guitar
Jan Bang live sampling, samples
Recorded June 2014, Auditorio Stelio Molo RSI, Lugano
Engineer: Stefano Amerio
Produced by Manfred Eicher
U.S. release date: September 9, 2016

As is common to ECM’s finest recordings of this century, Atmosphères represents the spirit of producer Manfred Eicher through its seemingly inevitable unfolding. Eicher is a listener above all, and his ability to coax that same level of regard from and between musicians in the studio, when it works this well, is marvelous. The label’s penchant for unprecedented collaborations, surprising yet organic by gentle force of suggestion, plays out here in the quartet of Tigran Hamasyan (piano), Arve Henriksen (trumpet), Eivind Aarset (guitar), and Jan Bang (live sampling, samples).

Those familiar with Hamasyan’s work won’t be surprised to find the Armenian pianist planting seeds of his homeland’s most celebrated composer, Komitas Vardapet (1869-1935), into this album’s otherwise spontaneous field. The beloved melodies of “Garun a” and “Tsirani tsar” especially highlight the synergistic core of Henriksen (whose tone often leans toward reed-like registers) and Hamasyan, although it was the latter’s collaborations with Bang at Norway’s Punkt Festival in 2013 that prompted Eicher toward this project’s realization. Concerning Bang’s sampling, whether banked or real-time, in combination with Aarset’s airbrushing it adds depth and vision to the overall soundscape at hand.

Komitas aside, ten freely improvised “Traces” make up the bulk of this two-disc album, and are where the possibilities of this quartet achieve fullest life. The ambience of “Traces I” opens the album on the softest of feet, swelling ever so gradually into audible life. Whether in the intonations of “Traces IV” or the misty layers of “Traces X,” each musician speaks to the other in whispers, true to the album’s titular spirit. Not all is mist and drift, however, as tracks like “Traces II,” “Traces VI,” and “Traces VII” speak of underlying tensions and earthly forces at work in powerful harmony. This restlessness is always at the mercy of some distant prayer, one cradled as a candle from night to dawn, while its flame dances frantically in the wind of unanswerable questions.

(This review originally appeared in the March 2017 issue of The New York City Jazz Record, of which a full PDF is available here.)

Sinikka Langeland: The Magical Forest (ECM 2448)

the-magical-forest

Sinikka Langeland
The Magical Forest

Sinikka Langeland kantele, vocals
Arve Henriksen trumpet
Trygve Seim
 soprano and tenor saxophones
Anders Jormin double bass
Markku Ounaskari percussion
Trio Mediæval
Anna Maria Friman vocals
Berit Opheim
vocals
Linn Andrea Fuglseth
 vocals
Recorded February 2015 at Rainbow Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher
U.S. release date: August 5, 2016

On The Magical Forest, Norwegian kantele virtuoso Sinikka Langeland reconvenes her “Starflowers” quintet (with saxophonist Trygve Seim, trumpeter Arve Henriksen, bassist Anders Jormin, and drummer-percussionist Markku Ounaskari), adding to that quilt the patchwork of voices known as Trio Mediæval. Any of these names will be familiar across the spectrum of ECM followers, but their shared love for Scandinavian folk music has never been so clear as in this latest project.

In contrast to previous albums, the kantele is a largely supportive presence, almost airy in its backgrounded-ness. This gives Langeland’s unaffected singing—and, more importantly, the imagery laced into it—room to roam. Of central significance in that regard is the sacredness of space. Not only in the immaterial sense, but also in the physical landscapes of nature at large and their shaping of reality as we’ve come to understand it over millennia of spiritual seeking.

The album’s opening trifecta sets its thematic charge as the rising sun ignites the day into breaking. “Puun Loitsu” (Prayer to the Tree Goddess) is based on a rune song text from the Finnskogen, or Forest Finns, whose migratory settlements in Norway and Sweden have become reliquaries for creation myths and other origin stories, glistening anew in the varnish of Langeland’s diction. The wiry strains of the kantele offer hints of song, which emerges first in monotone before being taken up in Trio Mediæval’s chanting response. “Sammas” crystallizes the running theme in its evocation of the “world pillar” (axis mundi), a column of infinite energy binding Heaven to Earth and circling around the North Star. The lyrics, with their Trinitarian framing, demonstrate one way in which Christian elements have found their way over the centuries into these mystical traditions. The light-bearing qualities of Henriksen’s trumpeting deepen these underlying messages, which “Jacob’s Dream” makes even more apparent. This retelling of the biblical Patriarch’s vision emphasizes the permanence of verticality over the fleetingness of horizontality. The “ladder,” then, is not climbable by the body but constitutes the body itself: a DNA helix spun from godly breath. Once the words are sung, the instrumentalists brilliantly unravel an improvisational second half. Seim’s tenor and Henriksen’s trumpet move in tandem, drawing rungs between them as they travel.

Trees continue to dominate the landscape in “Køyri” and “Karsikko.” The latter, which names a memorial trunk on which the names of the dead are carved, is based on a variant of the hymn “I Know of a Sleep in Jesus’s Name,” and Langeland’s communications with Henriksen make for some picturesque unfolding in both songs. “Pillar to Heaven” likewise strengthens an interconnectedness of things.

As so often happens on a Langeland album, animals figure heavily into the symbolism of The Magical Forest. “The Wolfman” recounts a man named Johan who, according to legend, lived as a wolf yet died as a man. The inseparability of soil and sky resurfaces, as Ounaskari’s cymbals seem to scale the clouds. “Kamui” takes a relatively documentarian turn in its depiction of Hokkaido, Japan’s indigenous Ainu, whose annual ritual killing of a bear cub is described in empathetic detail, while Trio Mediæval intones the titular “Kamui,” an Ainu word meaning “God” and referring to both the sacrifice and the deity honored by it. This leaves only the title track, an instrumental foregrounding the bird-like calls of Seim (now on soprano saxophone) and Henriksen while Jormin’s arco bassing slithers in the underbrush.

All of which makes me think that the album’s title is somewhat misleading. For indeed, what the listener encounters here is not a forest that is magical but a magic that is forested.

(See this article as it originally appeared in RootsWorld online magazine here.)

ECM @ Winter Jazzfest 2017

For the second year in a row, ECM commanded the stage at the New School’s Tishman Auditorium for Winter Jazzfest in New York City. Whereas 2016’s showcase spanned two nights, this year’s was a one-night event, and featured sets by the Michael Formanek Quartet (with Tim Berne, Craig Taborn, and Gerald Cleaver), Jakob Bro’s trio with Thomas Morgan and Joey Baron, two duos (Ravi Coltrane/David Virelles and Bill Frisell/Thomas Morgan), and a concluding performance by Nik Bärtsch’s Mobile. Click the concert photo below to read my full report.

2017-01-07dicrocco_nik_bartsch-mobile1651
(Nik Bärtsch; photo by Glen DiCrocco)