Back catalogue: Funk Soul & Jazz

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: 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: 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 second album from Vijay Iyer and Wadada Leo Smith on ECM is a meditation on resilience, sorrow and the human condition. Across four expansive tracks on Defiant Life, Iyer's piano and Fender Rhodes intertwine with Smith's haunting trumpet to create a soundscape that's both urgent and serene. From the solemn depth of 'Sumud' to the shimmering melancholy of 'Floating River Requiem' and the radiant close of 'Procession: Defiant Life' notions of suffering, resistance and hope are explored. The record was recorded in Lugano and produced by Manfred Eicher. It's a deeply reflective work of emotional and spiritual resonance.

Review: Bennie Maupin's contributions to many a groundbreaking jazz record - Miles Davis's Bitches Brew, Herbie Hancock's Mwandishi and Headhunters, and Marion Brown's Afternoon Of A Georgia Faun - all cemented his long-harked reptutation as an inventive jazz dynamo. His own releases as a bandleader were relatively sparse, but his debut album remains a standout; described by Down Beat in 1975 as "selfless", The Jewel In The Lotus heard Maupin instead focus his instructive efforts on his bandmates, whose one rule, issued by Maupin himself, was to "keep it seamless". You'll mostly hear the chops of musicians closely connected to Hancock's circle from late 1970s New York, where talent beamed and popped like cinders on brimstone.

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: 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.