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As Winstone moves ever farther from the Great American Songbook—her one nod, an achingly beautiful version of Caymmi/Motta/Bergman's "Like a Lover"— it's certain that, with band mates as sympathetic as Gesing and Venier, there's precious little she can't do. Stories Yet to Tell could be the pithy mission statement for this sublime trio, as it continues to mine a breadth of external sources, filtered through its own softly refracting internal prism.
John Kelman, All about jazz

“Stories Yet To Tell” ist musikalische Poesie pur. Die puristische Besetzung ermöglicht höchste Klangtransparenz, aber auch starke solistische Akzente. Vor allem: intime Höreindrücke. Der Gesang kreuzt das gesamte Spektrum zwischen französischem Chanson und amerikanischem Standard und lässt auch die Klassik nicht außer Acht. Ein fantastisches Album.
Mannheimer Morgen

As pensively arresting as thea are eclectic, they trace such wide-ranging themes as romantic disillusion (Manzanero’s “Kust Sometimes”), release from earthy strictures (Schneider’s “Among the Clouds”) and the odd duality of an actor’s life (Gesing’s “The Titles”). Shorter’s “Goddess” is brilliantly imagined as both an ode to Diana, goddess of the hunt, and as elegy for another Diana, relentlessly hunted. Additionally, Winstone takes the Friulian folk song “Lipe Rosize”, as adapted by Venier and Stefano, on a soaring, wordless voyage and adds a hallowed amen, again wordlessly, with the 13th-century troubadour song “En mort d’En Joan de Cucanh.”
JT, Jazz Times

As for Stories To Tell, the musicianship is just as fine and it is as if Winstone has found her perfect partners. She moves the pitch of her voice with a parallel skill to Gesing’s changes from soprano saxophone to bass clarinet while fusing with the precise chiming of Venier’s keys. Their harmony is rare and beautiful.
Chris Searle, Morning Star

Winstone has mixed standard songs with unexpected imports – mediaeval music or Armenian lullabies, plus originals and covers of themes by Maria Schneider and Wayne Shorter. Armando Manzanero’s lost-love ballad “Just Sometimes” is magical, with Klaus Gesing’s bass clarinet and Glauco Venier’s piano gliding around Winstone as if comforting her. Dori Caymmi’s “Like a Lover” is a sublime reflection, and Manfred Eicher’s production superbly captures Winstone’s upper-range purity and the sonorities of reeds and keys on Gesing’s gliding Sisyphus. The “Armenian Gradle Song” hypnotically rocks to a mix of wordless vocals and Winstone’s lyrics, and Venier’s lively arrangement of the traditional “Lipe Rosize” is a ghostly theme that becomes increasingly folksy and bouyant. The 13th-century troubadour song “En Mort d’En Joan de Cucanh” sounds eerily as if it’s happening in some faraway part of a church. Converts won’t be disappointed.
John Fordham, The Guardian

Das erstaunlich große Volumen, der volle Klang ihrer Stimme standen nie über, sondern immer in Balance zu den anderen Instrumenten, um möglichst tief in die Musik einzutauchen. Dieses vornehme Zurücknehmen ihrer Stimme prägen auch die Aufnahmen, die Norma Winstone jetzt mit dem Titel „Stories Yet to Tell“ (ECM) veröffentlich.
Norbert Dömling, Süddeutsche Zeitung

Venier’s piano accompaniments and Gesing’s interjections and countermelodies on soprano saxophone or bass clarinet, form a perfect equilateral triangle with the singer’s voice. For more go here.
Peter Bacon, The jazz breakfast