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August 10 , 2012

Reviews of the Week

Alexei Lubimov's interpretation of the Préludes is highly rated by Dutch magazine Luister.

Deze cd verdient de hoogste waardering. Lubimov speelt op twee vieugels uit Debussy’s tid, benut alle mogelijkheden die deze instrumenten bieden twerwijl zij spel bovenal persoonlijk klinkt en absolut niet historisch of modern.
Emanuel Overbeeke, Luister

Swiss weekly NZZ am Sonntag on Hirundo Maris by Arianna Savall and Petter Udland Johansen

Ein archaisch berührendes und zugleich sinnlich unmittelbares Erlebnis, Savall und Johansen in ihrem subtil engagierten Vortrag zu folgen. A disc for all seasons!
Franz Cavigelli, NZZ am Sonntag

The Independent on Sunday is mesmerized by Heiner Goebbels' Stifters Dinge

Described by the composer as a ‘performative installation’, the mesmerising Stifters Dinge is subtly transformed by the removal of the visual elements in its purposeful ebb and flow of found and created sound.
Anna Picard, Independent on Sunday

John Surman's solo album Saltash Bells enchants reviewers in Germany and Switzerland

Inspiriert haben ihn für seine Kompositionen Erinnerungen an Kindheitserlebnisse im Südwesten Englands. Es müssen, wie man hört schöne Tage voller Leichtigkeit gewesen sein.

Große Musik – zum Zuhören und Tagträumen.
Hanspeter Vetsch, NZZ am Sonntag

Frankfurter Allgemeine Zeitung praises Arild Andersen's and Tommy Smith's playing on Celebration

Andersen kann seinen Bass schön singen oder sich in hohen Flageoletts auflösen lassen. Tommy Smith bringt sich it seinem starken obertonreichen Sound und seiner Virtuosität als einer der bedeutendsten Spieler der europäischen Jazzszene n Erinnerung. Er ist dort zu wenig präsent. Man hat manchmal den Eindruck, dass er sich in Schottland zu wohl fühlt und zu wenig reist. Nach dieser CD vergisst man ihn nicht so schnell.
Ulrich Olshausen, Frankfurter Allgemeine Zeitung

John Abercrombie's Within A Song is reviewed by Emusic.com

Within A Song is a testimonial to guitarist John Abercrombie’s longstanding appreciation for beauty. All but two of its nine tracks are covers of songs taken from jazz albums first released in a period from 1959-64, when Abercrombie was between the ages of 14 and 19 and just formulating his aesthetic. Some, such as John Coltrane’s “Wise One” and “Flamenco Sketches” from the Miles Davis disc, Kind of Blue, are justly renowned for their delicacy. But Abercrombie also ferrets out the pleasantly voluptuous contours of Ornette Coleman’s “Blues Connotation” in a manner that contrasts with the antic Coleman original from 1961, and he has a band of top-shelf talents — saxophonist Joe Lovano with him on the front line, and bassist Drew Gress and his longtime cohort, drummer Joey Baron, in the rhythm section — capable of the subtlety and sophistication that spells the difference between what is merely pretty and what is luminescent.
Britt Robson, Emusic.com

US paper Lexington Herald Leader hears a monster on Terje Rypdal's boxset Odyssey - In Studio & In Concert

[...] the new, unedited Odyssey is a monster. The opening Darkness Falls lets Rypdal's guitar work flood in, as if from a hilltop. You can almost see it approach. The rest of the album shifts between layers of pastoral cool and massive, jagged expression. The piece de resistance, though, is Rolling Stone — the lengthy piece omitted from previous CD editions of Odyssey. Its construction is essentially transparent. The listener can discover guitar lines that recall John McLaughlin's electric work with the Mahavishnu Orchestra (but taken at a slower, more purposeful pace) woven one atop the other. Colored by Brynjulf Blix's orchestrations on organ, the resulting music waxes and wanes with an epic, enchanting sweep. The music sounds as rapturous as when Rydal first designed it 37 years ago.
Walter Tunis, Lexington Herald Leader