A lifetime of ECM

Back in the mid-70s when I was at school, a friend of mine (hi, Peter) gave me a tape which had on it an album by Jan Garbarek and one by Keith Jarrett. This was the beginning of an obsession with the music to be found on the ECM label. I have continued to be a collector of music by both Garbarek and Jarrett, as well as many other artists on the label including Terje Rypdal, Ketil Bjornstad, John Surman, Misha Alperin and Dino Saluzzi.

ECM is unusual in the world of record labels because it has such a strongly defined aesthetic. The label produces an incredibly diverse range of artists, but there is always that ECM sound which is difficult to define, but very easy to identify.

So, after so much music, I am writing about ECM again now because they have just produced two wonderful albums:

• Jan Garbarek Group -Dresden
• Keith Jarrett – Testament: Paris / London

Both are live albums. I was surprised to realise that this is the first live album for Garbarek. It’s a double album, and captures the excitement of seeing him live. The group has gone through some changes over recent years, partly because of bass player Eberhard Weber’s stroke. He is replaced by Yuri Daniel. This is a tough place to fill – Weber’s playing is so distinctive. Daniel’s playing is beautiful, lyrical and underscores Garbarek’s saxophone perfectly. The other change is Manu Katche on drums – he has worked with Garbarek a lot recently. He replaces Marilyn Mazur. She was always more of a percussionist than a straightforward drummer. Katche brings more of a rock drummer feeling to the music. Between them, Katche and Daniel make for a very different rhythm section which brings some different interpretations of some of the older material. Rainer Bruninghaus remains as the keyboard player, his playing ranging from the frenetic to the achingly lyrical.

The Keith Jarrett album is a triple album covering two live concerts from last year. I’m always amazed by Jarrett’s live work. The idea that he appears on stage to improvise new compositions then and there is remarkable. He says that he always begins with an empty mind – no preconceived ideas. Then, through a series of pieces (short for Jarrett)  he builds a collection of 20 remarkable performances. They are incredibly diverse. The two concerts are very different. As ever, Jarrett is at his best when he searches out a rhythmic melody and then works it to a beautiful conclusion. This is an extremely emotionally laden collection – his best work for years.

So, from two artists who I first heard nearly 35 years ago, come two beautiful albums. A real treat.

If you like the work of Garbarek, and would like to read a book about his music, I think the best book available is probably Michael Tucker’s “Jan Garbarek: Deep Song” – the book focuses on the music of Garbarek but it is also a marvellous exposition of the broader work of ECM.