It has been nearly a decade since Kayhan Kalhor and Erdal Erzincan recorded The Wind for ECM. During that long interval, the pair have played together so often, they appear to have perfected a musical language that walks not only between various musical traditions but through them simultaneously, coming through the other side with something timeless. Kalhor is an Iranian master of the kamancheh (spike fiddle). He has a relentlessly mercurial musical mind. It's been displayed not only in his work as a solo artist, with the duo Ghazal, and the ensemble Dastan, but also in Yo-Yo Ma's Silk Road Ensemble. Erzincan is regarded as the greatest living practitioner of the Anatolian baglama tradition.
The third ECM album by the trio of Great British jazz singer Norma Winstone, Italian pianist Glauco Venier and German clarinetist / saxophonist Klaus Gesing was recorded in December 2012 at Auditorio Radiotelevisione svizzera, Lugano, with Manfred Eicher as producer. Dance Without Answer pools material from diverse sources. Alongside the striking self-penned songs, there are pieces by idiosyncratic singer/songwriters Fred Neil, Nick Drake and Tom Waits, as well as tunes associated with the cinema, with contemporary pop, with a children’s television show and more.
Innovative Tunisian oud virtuoso Anouar Brahem presents this highly-acclaimed album of typically Middle Eastern music, recorded in 1999 with a trio that had been his first priority for several years. The improvisational exchanges between Brahem, clarinettist Barbaros Erköse and percussionist Lassad Hosni are exceptionally fluid and the atmospheres they create here are by turns mysterious, hypnotic and dramatic.
First recorded collaboration between one of the leading sopranos of our time, Juliane Banse, and the incomparable pianist András Schiff. The programme is a fascinating combination of two different worlds of 'Liedgesang' - in language as well as musical style and historicity.
Following the critical acclaim and enthusiastic response to Heavy Sugar: The Pure Essence of New Orleans R&B, compiler Stuart Colman has dug deep into the city’s unique recording legacy to bring about a sumptuous second helping. In addition to the requisite sourcings, the net has been cast wider still in order to focus on material gleaned from such picayune outlets as Rustone, Pontchartrain, Athens, Winner and Spinett. There is a very good reason for this.
Stefano Battaglia plays both piano and prepared piano (sometimes simultaneously) in a highly attractive double-album programme that includes his own compositions and spontaneous improvisations as well as two versions of the Arabic traditional song “Lamma Bada Yatathanna”. The melodic and texturally-inventive pieces, some of almost hypnotic allure, were recorded both in concert and in “closed doors” sessions at the Fazoli Concert Hall in Sacile, Italy, in May 2016, and subsequently arranged into what Battaglia describes as “a wonderful new shape with a completely new dramaturgy” by producer Manfred Eicher.