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[brijazz123]

Originally Posted by kevt

Just chanced upon this on Amazon - Chris Potter on ECM in the New Year, with a tasty line-up of Craig Taborn (piano), David Virelles (prepared piano, celeste, harmonium), Larry Grenadier (double bass), Eric Harland (drums).

http://www.amazon.co.uk/Sirens-Chris...885825&sr=1-15

Review from last year of Potter performing some of the material (quartet at the time)

http://www.nytimes.com/2011/02/10/ar...trio.html?_r=0

[robmid]

Originally Posted by jkelman

It isn't. But honestly, Rob, I know I have a penchant for the label, and I'm honestly not trying to be argumentative, but when I look at some of this year's releases, I have to question comments like "...mellowed out by the ECM style," specifically:

1. Tim Berne's Snakeoil
2. Michael Formanek's Small Places
3. Nik Bartsch's Ronin Live
4. Arild Andersen's Celebration
5. Billy Hart, All Our Reasons

My point being, I think the choices artists make are sometimes mistaken for some dictum that comes from the label. It just isn't that way, and when you hear next year's new record from Ralph Alessi, as well as Stanko's New York Quartet, I think you'll see what I mean. If folks make "mellow" records for ECM (like Abercrombie), it's a choice, not a production demand. Even Marc Johnson & Eliane Elias' Swept Away kicks considerably harder, once you get a few tracks in, than Johnson's previous (and, imo, marvelous Shades of Jade).

And I think you'll be very happy with the Potter - it's a real winner - and it ain't mellow

I just say these things to provoke you, John!

Anyway, looking forward to it and the Alessi and Stanko. I also got 1, 2, & 5 above. All quite good. And Potter can do no wrong in my book.

Cheers, Robert

[jkelman]

Originally Posted by robmid

I just say these things to provoke you, John!

I know it!
Cheer!
John

[Aminor251]

Check out Jake hertzogs evolution. https://www.youtube.com/watch?v=rOmb...e_gdata_player hope you enjoy it.

[Vaughan]

Tim Berne's Snakeoil IS mellow Berne.

[JETman]

Originally Posted by Vaughan

Tim Berne's Snakeoil IS mellow Berne.

According to Berne himself, he altered nothing in his style in order to put out an "ECM" record. The assumption that he did just further feeds the flames for saying that ECM is "dumbing jazz down". I understand that everyone has their own tastes -- some people are quite content to hear guys like Eric Alexander (as technically proficient as he is) make the same record over and over again as long as it swings in the oh so traditional sense -- but truth be told, there is no denying that ECM has made MANY important albums since its inception in 1969. To say otherwise would just be false.

[xybert]

Originally Posted by JETman

According to Berne himself, he altered nothing in his style in order to put out an "ECM" record. The assumption that he did just further feeds the flames for saying that ECM is "dumbing jazz down". I understand that everyone has their own tastes -- some people are quite content to hear guys like Eric Alexander (as technically proficient as he is) make the same record over and over again as long as it swings in the oh so traditional sense -- but truth be told, there is no denying that ECM has made MANY important albums since its inception in 1969. To say otherwise would just be false.

Unfortunately the ECM argument, at least with regards to whether artists are forced by Manfred Eicher to compromise themselves, often comes down to absolutes in peoples eyes. There's an interview linked somewhere on the board where Berne goes on record saying that he thoroughly enjoyed working with Eicher. He also says something to the effect that he did tailor the compositions and arrangements in order to take advantage of the more nuanced recording that ECM's high production values would allow. In other words, he didn't compromise himself in any way.

Working with a producer/label because you have a desired outcome is no different than choosing particular artists that you want to work with to get a desired outcome. Unfortunately a lot of people get it twisted when they don't like the resulting album and feel the need to place blame.

Having said all that, in this case Vaughan wasn't necessarilly having he go at ECM; although it can be a touchy subject he may just genuinely find the record to be relativley mellow. Of course he would need to speak for himself

[JETman]

Originally Posted by xybert

Unfortunately the ECM argument, at least with regards to whether artists are forced by Manfred Eicher to compromise themselves, often comes down to absolutes in peoples eyes. There's an interview linked somewhere on the board where Berne goes on record saying that he thoroughly enjoyed working with Eicher. He also says something to the effect that he did tailor the compositions and arrangements in order to take advantage of the more nuanced recording that ECM's high production values would allow. In other words, he didn't compromise himself in any way.

Working with a producer/label because you have a desired outcome is no different than choosing particular artists that you want to work with to get a desired outcome. Unfortunately a lot of people get it twisted when they don't like the resulting album and feel the need to place blame.

Having said all that, in this case Vaughan wasn't necessarilly having he go at ECM; although it can be a touchy subject he may just genuinely find the record to be relativley mellow. Of course he would need to speak for himself

I agree. Fwiw, it was only a matter of time before Berne would record for Eicher. He'd already been a sideman on a few ECM records, AND his wife is pretty high up on the ECM food chain. Add to that the fact that he finds running his own label an exercise in futility in today's music economy, and I'm sure he was quite happy to record for a producer with Eicher's track record, no holds barred.

[jkelman]

My review of pianist Benedikt Jahnel's Equilibrium, today at All About Jazz.

The second recording by this German pianist's international trio, but first for ECM, twists some of the conventions of this popular instrumental configuration - in this case, Spanish bassist Antonio Miguel and American drummer Owen Howard, by shifting in responsibilities. Jahnel, in his other life, is a mathematics researcher at Rohr University, and if that means there's a certain underlying logic to his writing, it doesn't mean the music is clinical or strictly cerebral. A fine follow-up to the trio's 2008 Material Records debut, Modular Concepts, with ECM's broader distribution reach, hopefully it'll help gain Jahnel the greater international exposure he deserves.

Review here.

[jkelman]

My review of Kurt Rosenwinkel's Star of Jupiter, today at All About Jazz.

A new recording from one of his generation's most influential guitarists is always something to look forward to, but when it's the guitarist's first studio recording of all-new original material since 2008's live The Remedy (Wommusic), it's even more reason to celebrate.

Rosenwinkel brings back a couple of musicians he's worked with regularly in the past - pianist Aaron Parks, back from The Rememdy (another reason to celebrate), and bassist Eric Revis, heard on the guitarist's standards-reinvention record, Reflections (Wommusic, 2009). Recording wit the guitarist for the first time, young drummer Justin Faulkner, has already been making waves in another band with which Revis is associated, saxophonist Branford Marsalis' Quartet. Both groups allow him plenty of freedom, but with Rosenwinkel's broader purview, Faulkner shines even brighter.

A true 21st Century record, with Rosenwinkel's forward-thinking but tradition-reverent writing some of the best of his career, with Star of Jupiter he continues a winning streak that's been going on for over a decade now, another record that presents palpable growth and is sure to show up on at least a few best of 2012 lists.

Review here.

[Alypius]

Originally Posted by jkelman

My review of Kurt Rosenwinkel's Star of Jupiter, today at All About Jazz.
... A true 21st Century record, with Rosenwinkel's forward-thinking but tradition-reverent writing some of the best of his career, with Star of Jupiter he continues a winning streak that's been going on for over a decade now, another record that presents palpable growth and is sure to show up on at least a few best of 2012 lists.

Review here.

Fine record, a fine review. It's in my top 10. Thanks also for the review of the Benedikt Jahnel. A fine recent discovery for me. I look forward to your (and others') "Best of 2012" lists. NPR's listing is now out there.

[Anthony_Jazz]

I'm a new member and unfamiliar with the culture and people on All About Jazz. So, if the request that follows is outside of forum protocol I apologize upfront and would expect that my post gets deleted.

I just released an album called "From the HIP" and welcome a review.

A little background is probably in order. I am a jazz vocalist and songwriter. My goal is to write memorable melodies with descriptive lyrics, similar to those in the American songbook. I've attempted to combine the jazz element of music with pop to learn whether it has any appeal. The music is more along the lines of "swing".

While sales will be the ultimate "reviewer", I am also interested in what jazz enthusiasts have to say. The chips will fall where they may.

The one thing I can say with confidence is that the musicians on the album are consummate professionals with impressive backgrounds. Their resumes include playing with such diverse notables as Frank Sinatra, Les Paul, Elvis Presley, Olivia Newton-John, Stan Getz, Buddy Rich, Blood, Sweat & Tears, Chicago, Lionel Hampton Big Band, and other prominent names and bands in the music industry, as well as performing in Broadway stage productions.

So, if you're interested in musicianship you shouldn't be disappointed.

My website is http://www.anthonyjazz.com

If there is someone from All About Jazz would like to do a review you can send me an email with your address and I'll either mail a CD or upload MP3s.

anthony.jazz@rocketmail.com

Anthony

[jkelman]

Originally Posted by Alypius

Fine record, a fine review. It's in my top 10. Thanks also for the review of the Benedikt Jahnel. A fine recent discovery for me. I look forward to your (and others') "Best of 2012" lists. NPR's listing is now out there.

My lists will be coming towards the end of next week....hope you like, and glad you liked the review, though there were two glaring factual errors I cannot believe I let through. Thankfully, a nicely worded critical comment against the article hipped me to 'em, so they're now fixed. But man, I hate it when that happens, as I tend to pride myself on accuracy and these were not trivial, they were big, big gaffs.

Ah well, I've beaten myself up enough now. Off to bed. Perchance to dream of more mistakes...

[Lunar Drift]

Erik Truffaz Quartet - El Tiempo De La Revolución ( Blue Note )

http://eriktruffaz.com/albums/16

[jkelman]

My review of Ivar Grydeland's Bathymetric Modes, today at All About Jazz.

An unexpectedly melodic and accessible solo record from the Huntsville, Dans les arbres and Electric Pansori guitarist from Norway - but still more than skewed enough to interest those whose tastes run left of center - it's largely a solo effort of layered guitars, with the occasional guest contribution.

When it comes to Norway, at least from an international perspective, the two guitarists (outside of the legendary Terje Rypdal) whose names are bantered about most are, and deservingly so, Eivind Aarset and Stian Westerhus. But with Bathymetric Modes, Grydeland has made a record that deserves to place him alongside these two other sonic adventurers.

Review here.