PRESS RELEASES
ECM November 2024 Releases
Available Now, New ECM Releases From
Jakob Bro, Thomas Strønen and Arild Andersen
Jakob Bro
Taking Turns
November 29, 2024
Taking Turns, recorded in New York’s Avatar Studio a decade ago, finds Danish guitarist Jakob Bro joined by a multi-generational cast of improvisers, highly distinctive players all. Lee Konitz, Andrew Cyrille, Bill Frisell, Jason Moran and Thomas Morgan lend their energies to a session that bypasses conventions of the “all-star” band and puts the emphasis on teamwork. Bro’s space-conscious music encourages fresh responses: an atmospheric hint, or a fragment of gentle melody, opening up new trails to explore. “My compositions are about catching a glimpse of a feeling, sketching it down and then unfolding it as we record,” said Bro at the time.
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Thomas Strønen
Relations
November 29, 2024
Musical messages from Oslo, New York, Basel and Lugano – recorded between 2018 and 2002 – are juxtaposed and recombined on an absorbing recording that features Norwegian drummer Thomas Strønen solo and in a series of duets . With such partners as Craig Taborn, Chris Potter, Sinikka Langeland and Jorge Rossy, the musical frame of reference is very broad. Elements from Langeland’s’s archaic-sounding folk to Potter’s post-Coltrane saxophone and Taborn’s whirlwind modernist piano each find their place in a project that implies new threads of connectivity, new creative relationships. The album was completed and mixed by Strønen and producer Manfred Eicher at Bavaria Musikstudios in Munich in February 2023.
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Arild Andersen
Landloper
November 29, 2024
Arild Andersen, one of jazz’s most widely acclaimed bassists, presents his first solo album. Characteristically broad in its musical scope and creative range, Landloper was recorded primarily at Oslo’s Victoria Nasjonal Jazzscene (with one piece recorded at Arild’s home). Choice of repertoire in this recital reflects on Arild’s artistic journey, and, alongside Andersen originals (“Dreamhorse,” “Mira,” “Landloper”), we find Norwegian traditional music (“Old Stev”), a romantic jazz standard (“A Nightingale Sang In Berkeley Square”), and new light cast upon free jazz classics (Albert Ayler’s “Ghosts,” Ornette Coleman’s “Lonely Woman,” Charlie Haden’s “Song for Che”). Andersen’s performances combine his masterful bass playing with real-time creation of electronic loops that bring an atmospheric dimension to solo playing and fresh opportunities for interaction.
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