Skip to content

Archive for

Visions of the abstract

Evan P in Vilnius

The news of the death of the photographer Jak Kilby has saddened all those who called him a friend. I met him in 1969, when he was a year or two into his work of chronicling a section of London’s jazz scene bracketed by two bands: the Spontaneous Music Ensemble and Chris McGregor’s Blue Notes. That lasted through ’70s and into the ’80s, resulting in a valuable record of the work of musicians such as John Stevens, Trevor Watts, Dudu Pukwana, Louis Moholo and many others.

Jak was a warm, kind man, and he was close to the musicians. He shared houses with some of them and drove them to their gigs in, as Trevor Watts told me, a series of vehicles that invariably broke down. He loved the music — and that was how it was always known: the music — because, I think, of its human qualities and a spirituality that was inherent even in the playing of those who did not think of themselves in such terms. (Later he converted to Islam, adopting the name Muhsin, and moved to Malaysia, the base from which he travelled to explore the Muslim world.)

Since the news came through I’ve been listening to a new CD by the saxophonist Evan Parker, the bassist Barry Guy and the drummer Paul Lytton: three musicians regularly captured by Jak’s camera in his early years on the scene. It’s called Concert in Vilnius and was recorded in the Lithuanian capital in October 2017, making it the fruit of almost half a century of collaborations.

Starting out when jazz-based free improvisation was in its infancy, each of them achieved a great deal in terms of expanding the vocabulary of their instruments, which was always part of the project. Now we can listen to them expressing all the wisdom and confidence of their maturity in a language — individual and collective — that they created.

Of the four pieces that make up almost an hour of music, perhaps the most ear-popping is Part III, which opens with a prodigious solo by Guy, using many different resources to make his bass sound like a regiment. It moves into a passage of astonishingly detailed and dynamic percussion/bass dialogue, and then reaches full trio-sized fruition with the arrival of Parker, who unfurls one of his most astonishing tenor improvisations, moving from brusque lyricism to those mind-bending skirls that seem to exist in two or three adjacent dimensions.

The idiom may be half a century old, but it will never be an easy-listening experience; it demands attention and commitment from the listener as well as from the player. What Jak Kilby and other lovers of free improvisation recognised early on is how risk is answered by reward to a degree unavailable in any other kind of music. In those moments it can reach the sublime, touch the infinite.

* Concert in Vilnius is released on a Lithuanian label called NoBusiness Records. The photograph of Guy, Lytton and Parker is from the CD insert and was taken by Vytautas Suslavičius.

ECM at 50

manfred-eicher

By the end of the 1960s, jazz had gone right out of fashion. If it was by no means dead in creative terms, it was no longer good business for the music industry. So the arrival of a new jazz record label was quite an event, which is why I can remember quite clearly the first package from ECM arriving on my desk at the Melody Maker‘s offices in Fleet Street, and opening it to extract Mal Waldron’s Free at Last. I knew about Waldron from his work with Charles Mingus, Eric Dolphy and others. But an album from the pianist, recorded in Europe and packaged with unusual care on an unfamiliar label based in Munich, came as a surprise.

Pretty soon it was followed by Paul Bley with Gary Peacock, and then by Marion Brown’s Afternoon of a Georgia Faun. Before 1970 was out further packages had included an album by the Music Improvisation Company (with Evan Parker and Hugh Davies) and Jan Garbarek (Afric Pepperbird). It became obvious that something special was happening under the aegis of ECM’s founder, Manfred Eicher.

I guess it was in 1971, with solo piano albums from Chick Corea and Keith Jarrett, Terje Rypdal’s first album and two albums of duos teaming Dave Holland with Barre Phillips and Derek Bailey, that the label’s character really became clear. Eicher stood for jazz with a high intellectual content, saw no reason to privilege American musicians over their European counterparts, and set his own high standards in studio production and album artwork. All these things — particularly his fondness for adding a halo of reverb to the sound of acoustic instruments, inspired by how music sounded in churches and cathedrals — were eventually turned against him by the label’s critics. The sheer volume of great music produced over the past 50 years is the only counter-argument he ever needed. His greatest achievement has been to make us listen harder, deeper and wider.

ECM’s golden jubilee is being marked by events around the world. On January 30 and February 1 there will be a celebration over two nights at the Royal Academy of Music in London, featuring the pianists Craig Taborn and Kit Downes, the bassist and composer Anders Jormin and the Academy’s big band playing the music of Kenny Wheeler with guests Norma Winstone, Evan Parker and Stan Sulzmann. I thought I’d add to the festivities by choosing 20 ECM albums that have made a particularly strong impression on me since that first package dropped on my desk half a century ago; they’re listed in chronological order. Although there are many other contenders, I stopped at 19; the 20th is for you to nominate.

1 Terje Rypdal: Terje Rypdal (1971) The guitarist’s debut was an early sign of Eicher’s determination to capture and promote the new sounds coming from northern Europe, and from Norway in particular. Rypdal was one of the first to present himself as a wholly original voice.

2 Paul Bley: Open, to Love (1972) For my money, the finest of ECM’s early solo piano recitals, with Bley examining compositions by Carla Bley (“Ida Lupino”), Annette Peacock (“Nothing Ever Was, Anyway”) and himself.

3 Old and New Dreams: Old and New Dreams (1979) Don Cherry, one of Eicher’s favourites, is joined by Dewey Redman, Charlie Haden and Ed Blackwell in this homage to the music of their former colleague, Ornette Coleman. The 12-minute “Lonely Woman” is astonishingly lovely.

4 Leo Smith: Divine Love (1979) The trumpeter and composer Wadada Leo Smith was among the squadron of American innovators who arrived in Europe at the end of the ’60s and whose influence gradually became apparent in the ECM catalogue. Divine Love is a classic.

5 Bengt Berger: Bitter Funeral Beer (1981) A Swedish ethnomusicologist, composer and percussionist, Berger put together a 13-piece band — Don Cherry being the only famous name — to record this strange and compelling multicultural mixture of jazz and ritual music.

6 Charlie Haden / Carla Bley: Ballad of the Fallen (1983) Fourteen years after the historic Liberation Music Orchestra, Haden and Bley reunited for a second studio album featuring music of resistance.

7 John Surman: Withholding Pattern (1985) A solo album in which Surman developed his skill at overdubbing soprano and baritone saxophones, piano and synths, this opens with “Doxology”, in which Oslo’s Rainbow studio is turned into an English church.

8 Bill Frisell: Lookout for Hope (1988) One of several guitarists whose careers were nurtured at ECM, Frisell recorded this with a lovely quartet — Hank Roberts (cello), Kermit Driscoll (bass) and Joey Baron (drums) — before moving on.

9 Keith Jarrett Trio: The Cure (1991) Includes an eight-minute version of “Blame It on My Youth” in which Jarrett, Gary Peacock and Jack DeJohnette achieve perfection, no matter how many times I listen to it in search of flaws.

10 Kenny Wheeler: Angel Song (1996) In a dream line-up, the Canadian trumpeter is joined by the alto of Lee Konitz, the guitar of Bill Frisell and the bass of Dave Holland.

11 Tomasz Stanko: Litania (1997) The Polish trumpeter interprets the compositions of his compatriot and sometime colleague Krzysztof Komeda. A wonderful group features the saxophonists Joakim Milder and Bernt Rosengren, with a core ECM trio — Bobo Stenson (piano), Palle Danielsen (bass) and Jon Christensen (drums) — as the rhythm section plus Terje Rypdal’s guitar on two of the tunes.

12 Trygve Seim: Different Rivers (2000) Most ECM music is for small groups, but here the Norwegian saxophonist and composer permutates 13 musicians in an exploration of subtle textures and gestures. The great trumpeter Arve Henriksen is among the soloists.

13 Manu Katché: Neighbourhood (2005) Ever listened to Herbie Hancock’s “Maiden Voyage” and wished there had been more post-bop jazz with that kind of relaxed intensity and melodic richness? Here it is. Tomasz Stanko and Jan Garbarek are the horns, Marcin Wasilewski and Slawomir Kurkiewicz the pianist and bassist.

14 Masabumi Kikuchi: Sunrise (2012) Kikuchi, who was born in Tokyo in 1939 and died in upstate New York in 2015, was a pianist of exquisite touch, great sensitivity and real  originality: a natural fit with Eicher, who recorded him with the veteran drummer Paul Motian and the quietly astounding bassist Thomas Morgan.

15 Nik Bärtsch’s Ronin: Live (2012) The label that released Steve Reich’s Music for 18 Musicians in 1978 is the perfect home for the group led by the Swiss pianist and composer, who explores the spaces between minimalist repetition and ecstatic groove, between gridlike structures and joyful improvisation.

16 Giovanni Guidi: This Is the Day (2015) With equal creative contributions from Thomas Morgan and the drummer João Lobo, the young Italian master leads a piano trio for the 21st century: always demanding close attention but never short of refined lyricism.

17 Michel Benita + Ethics: River Silver (2016) Led by an Algerian bassist, a quintet including a Japanese koto player (Mieko Miyazaki), a Swiss flugelhornist (Matthieu Michel), a Norwegian guitarist (Eivind Aarset) and a French drummer (Philippe Garcia) create music that incarnates the ECM ideal of reflective, frontierless beauty.

18 Roscoe Mitchell: Bells for the South Side (2017) A double album recorded live in Chicago in 2015, featuring Mitchell with four trios — including the trumpeter Hugh Ragin and the percussionist Tyshawn Sorey — who finally come together in a memorable celebration of the legacy of the Art Ensemble of Chicago.

19 Vijay Iyer Sextet: Far From Over (2017) Knotty but exhilarating compositions, solos packed with substance from Graham Haynes (cornet), Steve Lehman (alto) and Mark Shim (tenor): a statement of the art as it moves forward today.

20

* The photograph is a still from the 2011 film Sounds and Silence: Travels with Manfred Eicher, by Peter Guyer and Norbert Wiedmer. There’s a chapter containing further thoughts on ECM’s place in the evolution of modern music in my book The Blue Moment: Miles Davis and the Remaking of Modern Music, published in 2009 by Faber & Faber.