Daca ai ajuns aici, inseamna ca facem partea din aceeasi gasca a nostalgicilor ce asculta muzica de pe vinil. Poti alege viitorul tau disc preferat fie din categoria de aici de pe site, sau poti alege sa vizitezi "Raftul virtual de viniluri", unde ai posibilitatea sa lasi intuitia sa aleaga pentru tine.
1981 - reeditat in 2016, remasterizat din benzile analogice originale
Gary Peacock - contrabas
Jan Garbarek - saxofoane
Tomasz Stanko - trompeta
Jack DeJohnette - tobe
Jazz, sometimes, is like acting: a group of performers starts with a script of prewritten material, which then must be spun into a convincing world of characters. This is not to say that the music isn’t genuine. Quite the contrary: through the art of improvisation, through the indeterminacies of creative interaction, these musicians reveal their ability to give themselves to the moment, at the same time expressing something so deeply personal that one could never mistake their diction for that of anyone else.
2017
Bjorn Meyer - bas electric si acustic
There is a distinguished tradition of solo bass albums on ECM, but Provenance is the first to be devoted to the electric bass guitar. Björn Meyer, Swedish-born and Swiss-based, has shaped a unique voice for his instrument inside the most diverse contexts, working alongside Persian harpist and singer Asita Hamidi, Swedish nyckelharpa player Johan Hedin, and Tunisian oud master Anouar Brahem.
2018
Andrew Cyrille - tobe
Wadada Leo Smith - trompeta
Bill Frisell - chitara electrica
Andrew Cyrille’s title Lebroba is a contraction of Leland, Brooklyn and Baltimore, birthplaces of the protagonists of an album bringing together three of creative music’s independent thinkers.
A generous leader, Cyrille gives plenty of room to his cohorts, and all three musicians bring in compositions, with “Turiya”, Wadada’s elegant dedication to Alice Coltrane, unfurling slowly over its 17-minute duration. In his own pieces, including the title track and the closing “Pretty Beauty”, Cyrille rarely puts the focus on the drums, preferring to play melodically and interactively, sensitive to pitch and to space. There are references to West African music and the blues as well as the history of jazz drumming, but Cyrille’s priority today is an elliptical style in which meter is implied rather than stated.
1979
Pat Metheny - chitara electrica si acustica
Lyle Mays - claviaturi
Mark Egan - bas
Dan Gottlieb - tobe
AllMusic: " The back liner photo gives the impression of a grungy Midwestern garage band, but no, that doesn't describe this sophisticated jazz-rock quartet, which was simultaneously breaking into mass-market acceptance and away from the contemplative ECM stereotype. The arrangements are more structured, the playing often more intense and searching, with a more pronounced rock influence.
Rekindling the familiarly flowing interplay with fellow travellers Thomas Morgan and João Lobo – the trio’s musical partnership goes back over a decade at this point –, on A New Day Italian pianist Giovanni Guidi moreover expands the group’s instrumental grasp with the introduction of American saxophonist James Brandon Lewis, who makes his ECM debut here. Not only is the ensemble scope widened; with Brandon Lewis in tow, new dialects and fresh perspectives are broached, and different instrumental paths taken, inspired by an overall heightened sense of communication and Lewis’s unmistakable, confident tone. Recorded at Studios La Buissonne, Southern France, in August 2023, the album was produced by Manfred Eicher.
Pentru prima data pe vinil !
Jan Garbarek - saxofoane
Kim Kashkashian - viola
Manu Katche - tobe
Following a six-year break from recording, with only a guest appearance on bassist Miroslav Vitous' Universal Syncopations ('03) and a :Rarum compilation ('02), Norwegian saxophonist Jan Garbarek returns with his first album of new material since Rites ('98). In Praise of Dreams continues along the path established by such recordings as Legend of the Seven Dreams , I Took Up The Runes , and Visible World. But while Garbarek demonstrates the same penchant for deceptively simple pieces with almost anthem-like themes, his collaboration with violist Kim Kashkashian and drummer Manu Katche results in something richer, something deeper than what has come before. [ AllAboutJazz ]
2007
Keith Jarrett - pian
Charlie Haden - contrabas
All of which made Jasmine (ECM, 2010) a release worth celebrating. Recorded at Jarrett's home (in his Cavelight Studio), it was an intimate conversation between two old friends—Jarrett and Haden—who'd not recorded together in over three decades, and who were brought together when the pianist participated in Reto Cardiff's film about the bassist, Rambling Boy (2009).
Some things are never lost, and if Jasmine proved anything, it's that the chemistry shared by Jarrett and Haden may have been on hiatus for 30 years, but was no less potent, no less profound, when they found themselves recording a series of standards at Jarrett's home with no rehearsals barring a few quick run-throughs of the changes. The collaboration must have been a fruitful one, because Last Dance comes from those same sessions, another full 76 minutes of music comprised, once again, of songs culled from jazz standards and the Great American Songbook. [ AllAboutJazz (John Kelman) ]
