It comes as a very pleasant surprise to see that ECM Records has its very own blog now. Simple, beautifully designed, and a great repository for promoting their new releases and reissues, as well as highlighting the reviews given to said releases. Bravo!
Bulgarian pianist Milcho Leviev came to my attention about 20 years ago via the Los Angeles record label MA Recordings, a high-end label. I was floored by the quality of his playing, and wondered why he didn’t receive more attention in the US than he has. Bassist Dave Holland needs little introduction, as he has a flood of crucial records on labels like ECM Records.
I trust ECM Records immensely, as their musicians never let me down. Giovanni Guidi continues that streak wonderfully.
Something melancholy from Keith Jarrett seems appropriate after hearing about the loss of a good friend yesterday afternoon.
Egberto Gismonti was my introduction to ECM Records, believe it or not. Never has his work disappointed me. It is particularly wonderful to see that he dedicates this piece to Brazilian countryman and composer Heitor Villa-Lobos.
The Wall Street Journal do justice to the legacy of Manfred Eicher and perhaps the most amazing and success label you may never have heard of, ECM. From Stuart Isacoff’s article, a quote which sums up my personal opinion of him quite nicely:
“But the most striking exception at the Grammys belongs to ECM (Editions of Contemporary Music), nominated this time around for works by the little-known Polish-Russian composer Mieczyslaw Weinberg performed under the direction of Gidon Kremer. If anyone deserves an award for lifetime achievement, it is ECM’s founder, Manfred Eicher, a producer of over 1,600 albums—many of which have changed the course of recorded art
Here’s to Manfred and the crew at ECM, hoping they make another 1,600 wonderful albums.
While working as a buyer at Aron’s Records in Hollywood during my youth, I came across ECM Records. Up until then, the only thing I had ever heard off of the label was Keith Jarrett’s The Köln Concert. As I was able to listen to promo versions of new releases, I came across Anouar Brahem, but forgot about him for over a decade. My friend, Max Franosch, whose photographs grace a few classic ECM releases, reminded by of his work via a post several years ago, and I’ve been following his music intently ever since.
Naná Vasconcelos is, perhaps, the finest jazz percussionist in the world. Having collaborated with the likes of Brian Eno, Jon Hassell and Don Cherry, among so many others, he has also been an extremely prolific composer and performer in his own right. This particular album is tonight’s soundtrack as I talk with my own Brazilian.