Bei ECM im Januar: Anouar Brahem, Vijay Iyer, Chris Potter’, Kenny Wheeler, Jack DeJohnette,

		Anouar Brahem: Souvenance The music of Souvenance, by turns graceful, hypnotic, and taut and starkly dramatic, was recorded in 2014 – six years after oud-master cc’s last ECM album, The Astounding Eyes of Rita . “It took a long time to write this music,” he acknowledges, noting that his emotional world had been usurped by the unfolding story of political upheaval sweeping first through Tunisia then through the neighbouring countries. Extraordinary waves of change, accompanied by great hopes and fears. “I don’t claim a direct link between my compositions and the events taking place in Tunisia,” says Anouar, “but I have been deeply affected by them.” New directions for the music find Franҫois Couturier returning to the Brahem group, frequently supported by subtle string orchestration. The strings have a glowing transparency and fragility in these pieces, often providing shimmering texture against which the contributions of the quartet members – and, above all, Anouar Brahem’s unique oud-playing – stand out in bold relief. This double album was recorded at the Lugano studio in May 2014, and produced by Manfred Eicher. ECMPlayer
		Vijay Iyer Trio: Break Stuff “Break Stuff” is what happens after formal elements have been addressed. Vijay Iyer calls the break “a span of time in which to act. It’s the basis for breakdowns, breakbeats, and break dancing... it can be the moment when everything comes to life. ” A number of the pieces here are breakdowns of other Iyer constructions. Some are from a suite premiered at New York’s Museum of Modern Art, some derive from Open City, a collaboration with novelist Teju Cole and large ensemble. The trio energetically recasts everything it touches. “Hood” is a tribute to Detroit techno pioneer Robert Hood. On “Work”, Vijay pays homage to his “number one hero”, Thelonious Monk. “Countdown” reconsiders the classic Coltrane tune inside a rhythmic framework inspired by West African music. “Mystery Woman” is driven by compound pulses which owe a debt to South Indian drumming. Fast moving and quick-witted, the group has developed a strong musical identity of its own, with an emphasis on what Iyer calls “co-constructing”, exploring all the dynamics of playing together. Yet the three players also get abundant solo space and, in a reflective moment at the album’s centre, Iyer plays a moving version of Billy Strayhorn’s “Blood Count” alone. Break Stuff, recorded in June 2014 at New York’s Avatar Studio and produced by Manfred Eicher, is the third ECM release from Vijay Iyer. It follows the chamber music recording Mutations and the film-and-music project Radhe Radhe: Rites of Holi . The Vijay Iyer Trio is touring in the US and Europe in February and March 2015. ECM Player
		Chris Potter: Imaginary Cities Imaginary Cities is the recording premiere of saxophonist Chris Potter’s new Underground Orchestra. At the core of this larger ensemble is the personnel of his lon g-established Underground quartet – with Adam Rogers, Craig Taborn and Nate Smith – now joined by two bassists, a string quartet, and Potter’s old comrade from Dave Holland Quintet days, vibes and marimba man Steve Nelson. The title composition is a suite, panoramic in its reach, with movements subtitled “Compassion”, “Dualities”, “Disintegration” and “Rebuilding”. The scope of the work, and its contrasting moods and thematic development, inspire some of Potter’s finest playing. His saxes fly high above his idealized cityscapes or launch into dialogues or group improvising with its gifted inhabitants. Four further pieces – “Lament”, “Firefly”, “Sky” and “Shadow Self” – extend the feeling of the suite, successfully combining both tightly written material and very open areas involving all members of the orchestra. References are multi-idiomatic and multicultural, and Potter, who counts Charlie Parker with Strings amongst his formative enthusiasms, had Arabic and Indian string sections in mind, as well as contemporary composition, when shaping this material. Imaginary Cities was recorded in December 2013 in New York’s Avatar Studio and produced by Manfred Eicher. Release of the album is followed by US performances with the Underground Orchestra in New York and San Francisco. ECM Player
		Kenny Wheeler: Songs for Quintet Kenny Wheeler (1930-2014) was an unassuming giant of modern jazz, a daring improviser, and a writer of many beautiful and slyly unorthodox tunes. His recorded legacy includes albums now regarded as contemporary jazz classics such asGnu High, Deer Wan, and Music For Large And Small Ensembles . In December 2013 he recorded what was to be his last album. Songs for Quintet, an inspirational session featuring Wheeler compositions of recent vintage (plus a fresh approach to “Nonetheless”, first heard on Angel Song), was recorded in London’s Abbey Road Studio with four of Kenny’s favourite players. Stan Sulzmann, John Parricelli, Chris Laurence and Martin France work together marvellously as an interactive unit, solo persuasively, and provide support for the tender and lyrical flugelhorn of the ba ndleader. Songs for Quintet is issued on January 14, 2015, which would have been Kenny Wheeler’s 85th birthday. ECM Player
		Jack DeJohnette: Made in Chicago With Made in Chicago, an exhilarating live album, c celebrates a reunion with old friends. In 1962, DeJohnette, Roscoe Mitchell and Henry Threadg ill were all classmates at Wilson Junior College on Chicago’s Southside, pooling energies and enthusiasms in jam sessions. Shortly thereafter Jack joined Muhal Richard Abrams’ Experimental Band, and Roscoe and Henry soon followed him. When Abrams cofounded the Association for the Advancement of Creative Musicians in 1965, DeJohnette, Mitchell and Threadgill were all deeply involved, presenting concerts and contributing to each other’s work under the AACM umbrella. Jack brought them together again for a very special concert at Chicago’s Millennium Park in August 2013, completing the group with the addition of bassist/cellist Larry Gray. The concert recording – featuring compositions by Roscoe, Henry, Muhal and Jack, plus group improvising - was mixed by Manfred Eicher and Jack DeJohnette at New York’s Avatar Studio. Made in Chicago is issued as the AACM begins its 50th anniversary year. ECM Player

Neues bei ECM: Mit Keith Jarrett das Jahr beschließen

Mit Aufnahmen von Keith Jarrett beschließt ECM seine Veröffentlichungsaktivitäten für 2013 im Jazz:

Aufgenommen 1986 in seinem Heimstudio, offenbart "No End" bisher undokumentierte Aspekte in Keith Jarretts Musik. Er ist hier an elektrischen Gitarren, elektrischem Bass, Schlagzeug und Perkussion zu hören, wie er Overdubs über eigene Improvisationen spielt: "Irgendwie passierte in diesen Tagen während der 80er Jahre etwas, das sich nie wiederholen wird", schreibt er in seinen Liner Notes. "Es gab, soweit ich mich erinnere, keinerlei Vorüberlegungen oder Kompositionen im herkömmlichen Sinn - nur ein Gefühl oder reine rhythmische Idee oder ein Konzept für eine Basslinie oder Melodie. Nichts davon war niedergeschrieben."

"Die 'Bregenz/München Concerts' waren Jarretts brillanteste Soloaufnahmen bis heute, das Niveau der Inspiration ist ziemlich außergewöhnlich, und die Musik deckt ein größeres musikalisches und emotionelles Spektrum ab denn je," schrieb Ian Carr einst in seiner Keith Jarrett-Biographie „The Man and his Music“. Zwei improvisierte Konzerte aus dem Jahr 1981 aus Österreich und Deutschland stehen hier im Blickpunkt, aufgenommen im Bregenzer Festspielhaus und im Münchner Herkulessaal. Während das Bregenzer Konzert bisher schon als Einzel-CD veröffentlicht war, ist die komplette Münchner Performance in diesem Set nun erstmals auf CD erhältlich.

Auch bei ECM-New Series kommt es am 15. November zur letzten Veröffentlichung dieses Kalenderjahrs:

Mit dem Album „Il Cor Tristo“ begeht das Hilliard Ensemble sein 40jähriges Jubiläum. Herzstück ist ein Werk, das das Ensemble bei dem britischen Komponisten Roger Marsh in Auftrag gegeben hatte: "Il Cor Tristo", eine Vertonung der Gesänge 32 und 33 aus Dantes "Inferno", die Kompositionstechniken aus der Renaissance mit einem modernen Idiom verbindet. Die drei Teile von Marshs Komposition stehen hier im Wechsel mit Madrigalen der Komponisten Bernardo Pisano (1490-1548) und Jacques Arcadelt (1507-1568).

Der Pianist Vijay Iyer nahm im New Yorker Avatar Studio kürzlich unter der Leitung von Manfred Eicher sein erstes Album für ECM auf, weitere Produktionen sind geplant.

Am 15. November kommt es im Rahmen der „Europe Cultural Days 2013“ im Frankfurter Gesellschaftshaus Palmengarten zur deutschen Uraufführung von Dobrinka Tabakovas „Concerto for Cello and Strings“, das auch auf ihrem in diesem Jahr bei ECM New Series erschienenen Album „String Paths“ zu hören ist. Es spielt das Orchester Sinfonietta Rīga unter Normunds Šnē, Solistin ist Kristīna Blaumane.

Noch einmal erinnern sollöte man sich an die bereits im letzten Newsletter avisierten zwei Premierenkonzerte des Projekts ll Pergolese (Mit Maria Pia de Vito, François Couturier, Anja Lechner und Michele Rabbia): am 9. November in der Kirche di Donnaregina von Neapel und am 23. November im Auditorium Parco della Musica von Rom.