Forthcoming ECM releases

[David Ayers]

Heard good things about the Taborn solo, have yet to listen it though, gotta say curious about the match between ECM and him, not exactly an obvious fit but the fellow is quite versatile so who knows.

Do you mean he's willing to bend?

Taborn is already on several ECM records - three by Roscoe and one each by Parker and Formanek.

Is it necessary to sneer at him?

[king ubu]

Roscoe bent out of shape, too?

[JETman]

Heard good things about the Taborn solo, have yet to listen it though, gotta say curious about the match between ECM and him, not exactly an obvious fit but the fellow is quite versatile so who knows.

Do you mean he's willing to bend?

Taborn is already on several ECM records - three by Roscoe and one each by Parker and Formanek.

Is it necessary to sneer at him?

He is good, and seems to be a first-call sideman for some of the newer kids on the block, but let's not deify him just yet. His earliest dates (as the pianist in James Carter's band) were hardly stellar. I like his playing better now (on the Fender Rhodes and electric piano), and that's good enough for me. I will not, however, be picking up his solo date.

[Chicago Expat]

The samples don't sound too promising, but then again, when you're only giving the listener 30 seconds to get attached to the music enough to buy, you're really not giving them much at all.

Based on what little there is to hear, I also will not be buying. I still enjoy Taborn's "Junk Magic".

[mjazzg]

It's been said so many times before, different strokes....

All I'll add is that if you like your solo piano challenging and innovative then at least give this disc a spin. Some may not call it Jazz (maybe Taborn doesn't either) as it doesn't swing in any traditional sense of the word. what you'll get is a highly incisive use of dynamic and rhythm, utilising sustain (sorry if this isn't the correct technical term) and silence, precision and loud volume to create challenging music. One thing I like about Taborn solo is that he doesn't sound like anyone else.

I, too, rate Junk Magic and I am not sure anyone was saying he was god-like just worthy of some respect and not sneering

[JETman]

Don't sleep on "Light Made Lighter" featuring the newest in-demand drummer Gerald Cleaver, and bass monster Chris Lightcap (who has released several wonderful recordings of his own).

[Van Basten II]

Heard good things about the Taborn solo, have yet to listen it though, gotta say curious about the match between ECM and him, not exactly an obvious fit but the fellow is quite versatile so who knows.

Do you mean he's willing to bend?

Taborn is already on several ECM records - three by Roscoe and one each by Parker and Formanek.

Is it necessary to sneer at him?

I meant as a leader, saw him last night with Farmers on Nature and the way he was able to pull out music out of the piece of junk they call a piano à la Salo Rossa, it's quite obvious that he is very very fine player.is he the best, who cares, just enjoy his work.

Edited June 22, 2011 by Van Basten II

[Sundog]

what you'll get is a highly incisive use of dynamic and rhythm, utilising sustain (sorry if this isn't the correct technical term) and silence, precision and loud volume to create challenging music.

That's a fair characterization of the music on this release. Thirty second snippets do not do the work justice. It requires (deserves, rewards) your uninterupted attention. Sit quietly, listen, and-- repeat.

[David Ayers]

By the way I am puzzled nobody came out in favor of Roscoe's Far Side. I thought he had supporters around here. Has anybody except me even heard it? It's pretty good as these things go, and the Taborn/Iyer combination is not to be sniffed at. I guess whether you decide to like it or not depends how you respond to the first track which is long and impressionistic with a very protracted build-up. The other items are rather good though in different ways. I guess it's not a classic but it is worth living with for a while.

Oh and I've been listening to Avenging Angel, not all the way through it yet though...

[kh1958]

By the way I am puzzled nobody came out in favor of Roscoe's Far Side. I thought he had supporters around here. Has anybody except me even heard it? It's pretty good as these things go, and the Taborn/Iyer combination is not to be sniffed at. I guess whether you decide to like it or not depends how you respond to the first track which is long and impressionistic with a very protracted build-up. The other items are rather good though in different ways. I guess it's not a classic but it is worth living with for a while.

Oh and I've been listening to Avenging Angel, not all the way through it yet though...

I would like to hear it but haven't.

My one live experience with Craig Taborn was quite positive--he played electric piano with a group led by Eivind Opsvik, with Hakan Kornstad on tenor--a very pleasing concert in a small club (I liked the tenor player best though).

[Chicago Expat]

Here's three I just gave a listen to today...

Marcin Wasilewski Trio - "Faithful"

-It doesn't sound too much different than his excellent "January". I'll be interested to give this a try first thing in the morning, since it was when the sun was coming when January was such a winner to my ears. Besides, as subtle as Wasilewski's stylings are, the quiet of early morn seems to fall into lock-step with the music.

Iro Haarla Quintet - "Vespers"

-First time I've heard Iro. Beautiful album. Mathias Eick is such a talented trumpet player, but it's the woven sound of Haarla's harp and (the unspellable) Trvge Seim's saxes that steal the show.

Mathias Eick - "Skaala"

-The samples make this album sound like an cheesy electronica joke (IMO), and it's a great example why someone needs to cuff Eicher over the head about his stinginess with album previews. This album is really good and it never descends into cheesy territory. Very emotive sound, fuller and richer than his excellent "The Door". "Skaala" was much better than I thought it was going to be.

Edited June 27, 2011 by Chicago Expat

[David Ayers]

I've heard the Eick - it's a bit pretty for my tastes. Quite old-school ECM...

[mjazzg]

Three interesting discs that I bought with different expectations. ...hoping the Wasilewski would be better than January (I was in the minority, I know), that the Eick would be different to The Door and that the haarla would be half as good as Northbound

i was disappointed with the Wasilewski which I found another step in a downward trend toward a homogenous sound. Their two non-ECM discs were so fresh and alive. I want some of the compositions to jump out and bite (even in an ECM way) me but only Big Foot does so at the moment

the Eick? yes, know what you mean by pretty but it's grown on me and although somewhat like the Wasilewski I find that the individual tracks don't stand out from the whole, i'm finding the whole a pleasant, not-too-diverting 45 minutes (is that damned with faint praise? not really meant to be} I hadn't thought of it as old school ECM but now you mention it...I'm much more enamoured with Mr Eick's contributions o the latest Jaga Jazzist

The Haarla is beautiful. Great playing, lovely, understated compositions. Northbound was a favourite and this is a worthy follow-up indeed. Great band live too

Now the Ricardo Villa-Lobos 'reconstruction' album, RE:ECM, that's one to put several cats amongst the pigeons. Some very interesting treatments on the first listen

[mjzee]

The soundtrack for a film about Manfred Eicher!

Sounds and Silence: Travels with Manfred Eicher

[Chicago Expat]

the Eick? yes, know what you mean by pretty but it's grown on me and although somewhat like the Wasilewski I find that the individual tracks don't stand out from the whole, i'm finding the whole a pleasant, not-too-diverting 45 minutes (is that damned with faint praise? not really meant to be}

That really sums up how I was feeling about the Eick yesterday as I had a pleasant time listening to it. It's definitely grown on me, and there are a few tracks that I think stand out a bit from the crowd, but it really is more forest than trees, and it isn't nearly as striking as his first album or contributions on the albums of others. But "pleasant, not-too-diverting 45 minutes" really is how I would describe it, too. I'm glad I own it and I'll listen to it from time to time, but I'll never have more than polite warmth for it.

[king ubu]

Iro Haarla Quintet - "Vespers"

-First time I've heard Iro. Beautiful album. Mathias Eick is such a talented trumpet player, but it's the woven sound of Haarla's harp and (the unspellable) Trvge Seim's saxes that steal the show.

It's Trygve Seim - none too difficult... can't put it phonetically, but it's rather easy to pronounce, too (can't think of an english word that has the same pronounciation as the "y" in Trygve though, but the first syllable is stressed, so it's 'Tryg-ve, and the e at the end is mute, similar to how it is in "the"... Seim... the "ei" is as in "aye aye sir", kind of :-) )

Anyway... that one looks interesting. Haarla makes some good music.

The Trio isn't really happening too much for me, without Stanko, but I confess I only have the first disc (and found it rather boring, hence was reluctant to buy more).

Me, I've just gave Miroslav Vitous' "Remembering Weather Report" a first spin today... I know it came out two years ago, but that's about as fast I get to new releases, most often. I quite enjoyed it!

[GregK]

Iro Haarla Quintet - "Vespers"

-First time I've heard Iro. Beautiful album. Mathias Eick is such a talented trumpet player, but it's the woven sound of Haarla's harp and (the unspellable) Trvge Seim's saxes that steal the show.

It's Trygve Seim - none too difficult... can't put it phonetically, but it's rather easy to pronounce, too (can't think of an english word that has the same pronounciation as the "y" in Trygve though, but the first syllable is stressed, so it's 'Tryg-ve, and the e at the end is mute, similar to how it is in "the"... Seim... the "ei" is as in "aye aye sir", kind of :-) )

Anyway... that one looks interesting. Haarla makes some good music.

The Trio isn't really happening too much for me, without Stanko, but I confess I only have the first disc (and found it rather boring, hence was reluctant to buy more).

Me, I've just gave Miroslav Vitous' "Remembering Weather Report" a first spin today... I know it came out two years ago, but that's about as fast I get to new releases, most often. I quite enjoyed it!

This is still a favorite of mine.

[GA Russell]

I received three press releases this evening.

ECM

Nils Økland / Sigbjørn Apeland

Lysøen

Hommage à Ole Bull

Nils Økland: violin, Hardanger fiddle

Sigbjørn Apeland: piano, harmonium

U.S. Release date: July 26, 2011

ECM CD: B0015753-02

UPC: 6025 274 0246 8

When asked by the King of Denmark to name his teachers, violinist Ole Bull famously replied, “The mountains of Norway, Your Majesty”, and his work was certainly informed – as is the present disc – by the spirit of place. Once a world-renowned musician, Bull’s current reputation rests on a small body of written pieces that tell just part of the story. He remains however an iconic figure in Norwegian music. Ole Bull (1810-1880) was a player-composer who associated with the great names of 19^th century music – Clara Schumann and Franz Liszt were amongst the pianists who accompanied him – but also had a lifelong involvement with folk music. From childhood onward he was friendly with local Hardanger fiddle players and he would often play folk tunes in his recitals, or borrow themes from folk music for his concert pieces. Edvard Grieg considered Bull amongst his most important inspirations: “Ole Bull became my saviour. He showed me the beauty and originality in Norwegian folk music.” For Liszt, Bull was “quite simply extraordinary. He is a sort of savage’s genius, possessing an abundance of original, enchanting ideas.” A player of great technical prowess, Bull was regarded by many critics of his day as a logical successor to Paganini. And, like the Italian master, he was an improviser of genius. He was also given to romantic-extravagant performance gestures – such as playing his violin atop of the Cheops pyramid at Giza. Mark Twain and William Thackeray were amongst his many admirers, and Ibsen is said to have based the figure of Peer Gynt on Ole Bull.

In 1872, Bull bought the island of Lysøen off the west coast of Norway and had a villa built there on ‘fairytale’ designs by architect Conrad Fredrik von der Lippe. In 1974, Bull’s granddaughter donated the house to the Norwegian Society for the Preservation of Ancient Monuments, and it has since been maintained as part of the Lysøen Museum. Many concerts have been given in its music room, but Nils Økland and Sigbjørn Apeland are the first musicians to have recorded there. Sigbjørn Apeland plays a grand piano which once belonged to Ole Bull’s daughter Olea, as well as Bull’s harmonium. Amongst the instruments used by Nils Økland is Bull’s Guarneri del Gesù violin from 1734.

From the liner notes: “For years Økland and Apeland have explored Ole Bull’s musical landscapes with open minds, and found inspiration to develop their own ideas. In this recording they have chosen to emphasise the contemplative elements in Ole Bull’s music. The selection is inspired by the beauty and tranquillity of the surroundings, by the serene ambience of the music hall, and, most of all, by Ole Bull. The album presents partly the performers’ own arrangements and improvisations based on tunes that Bull performed, and partly new compositions inspired by Ole Bull.”

Nils Økland and Sigbjørn Apeland, in a Performers’ Note: “We don’t claim to improvise as Bull did, but we use many of the same themes that he used, and – as with him – our improvisations are often based upon Norwegian folk music. We also want to perform his melodies in our own way (…) Like Bull, we are influenced by our contemporary music. We also consider ourselves as parts of a long chain of composers and performers who have integrated elements of folk music in their improvisation and compositions, from Edvard Grieg via Eivind Groven, Bjarne Herrefoss, Jørgen Tjønnstaul, Geirr Tveitt, Jan Johansson, Don Cherry, Jan Garbarek, Arild Andersen, Frode Haltli and Karl Seglem.”

Lysøen: Hommage à Ole Bull marks an ECM debut for Sigbjørn Apeland. Sigbjørn holds a position as organist in Sandviken church, Bergen, and collaborates with musicians within a wide range of genres, especially church music, Norwegian folk music, electronics and improvised music. He has also composed/performed music for mixed-media projects, most recently: The Organ Tower (installation/performance for about 25 harmoniums and electronic organs), Kanskje aller helst der (a play by Ragnar Hovland), and Jeanne d´Arc (a silent movie). He has participated in around 30 recordings, including prize-winning discs with electronica group Alog, and folk musician Sigrid Moldestad. As an academic, Apeland has been teaching, supervising and writing within the fields of musicology, cultural studies, church music, theology and folklore studies. He has also extensive experience as a folk music collector and researcher, primarily focused on material from Western Norway.

Nils Økland studied classical violin with Terje Tønnesen and Hardanger fiddle with two of the greatest masters of Norway’s national instrument, Knut Hamre and Sigbjørn Bernhoft Osa.

Nils’s solo debut for ECM, Monograph, was released in 2008 to considerable acclaim. “(The disc) captures the qualities that set Økland apart from those who can merely play,” wrote Julian Cowley in The Wire, “With Økland you get the sense that the instrument is an outlet for a vision.” Økland has long bridged the distance between traditional and experimental musics. In addition to his solo disc, he can be heard on two ECM recordings with the Christian Wallumrød Ensemble. He has performed at the major Norwegian festivals and is a regular guest at the Bergen International Festival, where he has performed the Hardanger Fiddle Concerto of Geirr Tveitt. He has given concerts in most European countries.

Both Sigbjørn Apeland and Nils Økland were previously musical directors of the Ole Bull Academy in Voss, Norway.

In August and September Økland and Apeland will give a series of concerts in Lysøen and schools of the Bergen district, with Mari Lyssand as narrator.

A European tour is in preparation for October and November 2011.

Album includes liner notes by Norwegian journalist and Ole Bull specialist Mari Lyssand, plus a performers note by Nils Økland / Sigbjørn Apeland. The booklet also includes photos of Nils and Sigbjørn playing at Lysøen.

*****

ECM

Wolfert Brederode Quartet

Post Scriptum

Wolfert Brederode: piano

Claudio Puntin: clarinets

Mats Eilertsen: double-bass

Samuel Rohrer: drums

U.S. Release date: July 26, 2011

ECM CD: B0015750-02

UPC: 6025 276 4500 1

The second album from Dutch pianist Wolfert Brederode’s international band – with clarinettist Claudio Puntin and drummer Samuel Rohrer from Switzerland, and Norwegian bassist Mats Eilertsen – builds upon the achievements of 2006’s Currents, a recording which netted much positive press. In the UK’s Jazz Journal, Michael Tucker spoke of “a patiently and intelligently shaped” album, noting that “the currents here are mostly deep and slow-moving, sometimes practically hypnotic in their ebb and flow.”

Currents was the beginning of the story. Four years of collaborative work have seen conceptual considerations overtaken by what leader Brederode calls “a very natural way of working together: There’s little need for discussion now when a new piece is brought in. Each player has found his role inside the ensemble. Not in terms of soloing but in taking responsibility for a part of the whole musical picture.” There is no jostling for solo space in this line-up, the goal is to serve the compositions: “As we play the music one of us may be ‘featured’ or come to the fore in a particular piece, but these things arise spontaneously, and change constantly.”

Recorded at Studios la Buissonne in Pernes-les-Fontaines near Avignon, Post Scriptum features nine pieces composed by Wolfert Brederode, and three by Mats Eilertsen; Samuel Rohrer and Claudio Puntin contribute a tune apiece to the album’s repertoire.

Some tunes are brand new, others have been percolating for a while. The opening “Meander”, Brederode explains, took time to find its form. Its opening 3/4 pattern had to wait until the composition’s sense of harmonic movement made itself felt. Finished shortly before the recording session, the piece was briefly played live before the group headed for the studio. “Angelico” on the other hand, with its floating melody hovering over Wolfert’s constant pulsing chordal 8^th notes, was written shortly after the Currents session, and has been a concert favorite ever since.

“Post Scriptum” is a piece Brederode wrote for a theatrical work called “Distance”: “We’d never played it with the quartet before. I just took it to the studio, and we ran through some variations.” The first one heard here is “a dreamy version that comes out of the deep”, capped by Wolfert’s high piano line. The variation “Post Scriptum, var.” takes off from Eilertsen’s opening bass line, “we move above that, and react to it, as Mats takes the line ‘out’ and brings it back again. This is perhaps a more tense version.” Why is “Post Scriptum” the title track? “I believe that quite often very important messages are contained in the short postscript added to a long letter.”

“Inner Dance” is “a simple piece where the melodies are all within one scale but the harmonies are moving: the feeling I get from it is of dancing without leaving the chair - simply by letting the piece go through your head.”

“Sofja” is named for Sofja Osipovna Levinton, a leading character in Ukrainian writer Vassily Grossman’s emotionally-powerful epic about the Stalinist era, “Life and Fate”. “It’s a book packed full of extraordinary characters, very brilliantly drawn, but Sofja’s story particularly touched and gripped me”.

The tune “November” was developed out of an earlier piece called “For What It’s Worth”: “I added the rubato part – you feel the long winter about to begin – which we get into after the dark theme.” In seasonal contrast, “Silver Cloud” references the fast-moving atmospheric phenomena visible in the twilight hours of the summer months. Claudio Puntin’s “Augenblick in der Garderobe des Sommers”, meanwhile, has a more bucolic summery feel – as well as the longest title in the Brederode band book.

“Hybrids” is Samuel Rohrer’s composition: “Samuel’s experience of writing for theatre and dance has helped him, I think, in finding unusual shapes for ensemble music.” Mats Eilertsen’s “Aceh” is, for the leader, “a very beautiful piece with a developing line. We’ve played it different ways, it can be interpreted really quietly, but this version finally becomes wild in the end.” Of Mats’s other pieces, “Wall View” resounds with the timelessness of a folk song. “Brun” had been played live just once before the session. Its extended bass clarinet and bass intro set the stage for Brederode’s linear entry, “taking the melody like a horn player.”

*

Born in Wassenaar, Netherlands, in 1974 Wolfert Brederode has worked as a musician and composer since 1996, his refined and focused touch making him one of the most distinctive musicians of the younger Dutch generation.

Mats Eilertsen has previously been heard on ECM recordings with Trygve Seim & The Source, with Jacob Young, with Thomas Strønen’s Parish band (featuring Bobo Stenson), and latterly, with the Tord Gustavsen Ensemble. Samuel Rohrer is one third of the rapidly-rising Colin Vallon Trio, whose new album Rruga is currently getting much press attention. Brederode and Rohrer have more than a decade of collaborative work behind them and have played, for instance, in singer Susanne Abbuehl’s band (ECM album: April). Claudio Puntin is active also in the world of classical music, and has played with the Ensemble Modern, and other leading chamber ensembles and orchestras. His previous ECM releases include the album Ylir with Icelandic singer/violinist Gerdur Gunnarsdóttir.

*****

ECM

François Couturier

Tarkovsky Quartet

François Couturier: piano

Anja Lechner: violoncello

Jean-Marc Larché: soprano saxophone

Jean-Louis Matinier: accordion

U.S. Release date: July 26, 2011

ECM CD: B0015740-02

UPC: 6025 274 2526 9

“It is to a true inner world that François Couturier and the Tarkovsky Quartet with Anja Lechner, Jean-Louis Matinier and Jean-Marc Larché give us a splendid access. Here are poetic ballads in which the voices of the piano, cello, accordion and saxophone rise up, answer one another, entwine, fade, and return... In which the pulse, like the beating of a heart, and the most imperceptible sounds sketch out a world in which the soul may soar with its entreaty and its dreams. Huge wings unfold, stretch out and close again. The image of dancers comes to mind. A whole protected interior space of long drawn out silences, in which, miraculously, improvisation remains sovereign. This is probably what brings us closest to the 'absolute freedom of the spiritual potential of man' which Andrei Tarkovsky regarded as the essential function of art.”

-Charles H. de Brantes, Director, Andrey Tarkovsky International Institute

*

Following on from Nostalghia – Song for Tarkovsky (2005) and the solo piano album Un jour si blanc (2009), this new recording, made in the responsive acoustic of the Auditorium RSI in Lugano, completes a trilogy for François Couturier and also opens a new door for his quartet, known henceforth as the Tarkovsky Quartet.

The work of filmmaker Andrei Tarkovksy (1932-1986) continues to provide inspiration for the pianist, and his compositions here are packed with allusions to Tarkovsy’s life and art. In a liner note, Charles de Brantes illuminates some of these references, pointing out that the titles of the twelve pieces heard here themselves constitute a series of tributes.

“A celui qui a vu la’ange”, for instance, is an epitaph inscribed on Tarkovsky’s tombstone. “Tiapa” and “Maroussia” were Tarkovsky’s affectionate nicknames for his youngest son and his mother. “Myshkin” is named for the Dostoyevskyan prince whom Tarkovsky often spoke of as an apt film subject. “San Galano” is the ruined abbey in Nostalghia. “Mouchette” was Tarkovsky’s favorite Bresson film, and “Doktor Faustus” the Thomas Mann novel that he longed make into a movie. Tarkovsky wrote the screenplay for the Tajik Western Sardor, but never filmed it. “La passion selon Andrei” was the original title of Tarkovsky’s historical masterpiece. “L’Apocalypse”, last book of the Bible (Revelation), is a frequent reference in Tarkovky’s last three films, “La main et le oiseau” (The hand and the bird) “feature in the brief scene in The Mirror which Tarkovsky later referred to as his self-portrait. This leads, finally to “De l’autre côté du miroir”, the other side of the mirror: through the looking glass toward other destinations for the imagination.

“San Galagno”, “Sardor” and “Le main et l’oiseau” are collective improvisations by Couturier, Lechner, Larché and Matinier, their musical depth testimony to the way in which the group has developed in the last five years. All other pieces are composed by Couturier, who points out that “A celui qui a vu l'ange” is inspired by "Qui est homo" from Pergolesi's "Stabat mater" and “Maroussia” by Johann Sebastian Bach's “Das alte Jahr vergangen ist”. “La passion selon Andreï” references "Herr, unser Herrscher” from Bach's “Johannespassion”, and “Doktor Faustus” makes allusions to Shostakovich's Sonata for violoncello and piano, op. 40.

*

Standing in the foreground is a musicality nourished at other wellsprings. Couturier, born near Orléans in 1950, has played with jazz musicians and is equally at home with avant-garde improvisers or oud player Anouar Brahem. Along the way, in various formations, he met Jean-Louis Matinier and Jean-Marc Larché. The cellist Anja Lechner moves just as freely across musical boundaries. She feels as closely attuned to Dino Saluzzi as to Misha Alperin or Gurdjieff, to whom she dedicated the moving Chants, Hymns and Dances… It is their attitude that has brought them together, not their backgrounds.

-Konrad Heidkamp, writing in Die Zeit in 2006

*

François Couturier began playing piano at the age of six. After completing studies in classical music and musicology in the early 1970s, he began improvising in earnest, initially taking his cue from modernists Paul Bley, Chick Corea and Joachim Kühn. By the end of the 1970s he was working regularly with drummer Jacques Thollot, one of the key protagonists of the French ‘free’ movement. In Thollot’s group he befriended bassist Jean-Paul Celea. Couturier and Celea played in duo, then developed their concept to include other musicians. Amongst them: Daniel Humair, François Jeanneau, Dominique Pifarély. Couturier’s first appearance on ECM was on Anouar Brahem’s Khomsa in 1994, a recording that also marked the ECM debut of Jean-Marc Larché. Contact between Brahem and the pianist had been initiated in 1985 when they worked together at the Festival of Carthage. The association was revived in 2001, and Couturier toured widely with the oud player in trio with accordionist Jean-Louis Matinier, and appearing on the albums Le pas du chat noir (2001) and Voyage de Sahar (2005). Other Couturier recordings on ECM include the duo album Poros with Dominique Pifarély (1997).

The Tarkovsky Quartet made its international debut at the Bergamo Festival in April 2006. Since the release of Nostalghia – Song For Tarkovsky, the quartet has become a regular presence on the European concert circuit and at the festivals. Together, the four musicians have made strong contributions to ECM events in Dinant, Frankfurt, Athens, Florence and Umbria. Upcoming performances include festival slots in Basel, Barcelona and Lisbon, as well as a number of concerts in France.

The group has been warmly received by the international press. Reviewing Nostalghia in the Irish Times, Ray Comiskey summed up the ensemble’s approach: “Mixing classical rigour with improvisation both formal and free, what emerges is austerely beautiful, etched in sombre hues and redolent of an unslakeable thirst to connect with a deeper well of the spirit.”

[GregK]

I'd like to hear that Couturier.

[GA Russell]

I'd like to hear that Couturier.

It's already out. Usually I get the press releases a couple of weeks before the street date, but this time they came a week late.

http://www.amazon.com/Tarkovsky-Quartet-Francois-Couturier/dp/B004MBP7K6/ref=sr_1_1?s=music&ie=UTF8&qid=1312333480&sr=1-1

I notice that all of the "Frequently Bought Together" and "Customers Who Bought This Item Also Bought" items are all very recent ECM releases.

[Chuck Nessa]

I'd like to hear about this stuff without the damned pr material. That stuff causes me to ignore recordings I might like.

[GA Russell]

I'm surprised to hear you say that, Chuck. Do you release your records without any press releases or other promotion? If so, are there other record companies who do likewise?

[Chuck Nessa]

I state the facts here and that's it. I do send promo copies to a few folks but that is it. I don't want my issues tainted with the BS of press releases. All the labels you don't get emails from do likewise.

[Chicago Expat]

That Brederord album looked interesting. I went to his site. He has no music on it. You can't stream music from the album, not even some stingy 30 second samples. This, unfortunately, is typical of ECM artists. What a stupid way of doing business, creating a site and not using the best tool an artist has of promoting themselves... their music.

Well, guess I'll move on to the next new release and the next label. If ECM and its artists can't be bothered to let me hear their music, there's plenty of great jazz out there today made by artists who will.

How aggravating.

(GA, thanks for posting that, though. I don't want my frustration with ECM to get misinterpreted as frustration with the messenger, so to speak. Cheers.)

[GA Russell]

Expat, I see that you can listen to samples from the Brederode Post Scriptum album at Amazon.

http://www.amazon.com/Post-Scriptum-Wolfert-Brederode-Quartet/dp/B004Q9QXP2/ref=sr_1_1?s=music&ie=UTF8&qid=1312392754&sr=1-1