Some recent works from the ECM label, which offer sounds filled with contemporary spatial beauty, were introduced in the Column No.57, “Listening to ECM Today.” Two and a half years have passed since then. The new releases on this label are all beautiful and could be called a “sound palette.” Among them, I would like to introduce three releases.
#283 Mathias Eick’s New Album Filled with Poetry
Lullaby / Mathias Eick
(ECM-2825 Imported)
The sound of the trumpet played by Mathias Eick has a rich, poetic quality typical of Scandinavian players. With muffled tones, the music is quiet yet contains a hot passion. Mathias grew up in a small town called Hem in southern Norway, and after playing for a long time in the popular European band Jaga Jazzist, he made his leader debut with “The Door” on ECM in 2008. Mathias, who has been on a journey through various music, says he is “heavily influenced by rock and pop.” This album is his sixth with ECM and was recorded at Rainbow Studio in Oslo in early 2024.
The simplicity of Mathias’s one-horn quartet performance reveals his current musical stance. All eight numbers on the album are original compositions by Mathias, and many of them are of melodic beauty. Estonian-born pianist Kristjan Randalu’s harmonies enhance Matthias’s sound, while bassist Ole Morten Vegan and drummer Hans Hulbaekmo deliver flowing beats. Their performance has a pop feel, with a hint of Norwegian folk music that makes you feel like you’re looking at a landscape painting. Mathias’s trumpet talks to us warmly and tenderly in every way. Particularly impressive is the title track, ＜Lullaby.＞ This piece is like a slow-paced song filled with soft pathos. Although some of the numbers on this album are not slow-tempo, it has the atmosphere of a “ballad album” with plenty of melodies sung, and the time passes slowly.
#284 Music Filled with Serenity by Top Players
Taking Turns / Jakob Bro
(ECM ⇒ Universal Music UCCE-1214)
The Danish-born guitarist Jakob Bro, Bill Frisell (g), Thomas Morgan (b), Jason Moran (p), and other top players all come together to create a world full of lyricism. The album was released at the end of 2024, but the sessions had taken place in 2014 and included the late Lee Konitz (as, ss) and Andrew Cyrille (ds). Jakob Bro’s guitar has a rich spatiality, and although he never overplays, he maintains a special position of exquisite control while keeping an eye on the flow of the band as a whole.
Lee Konitz’s playing is terrific, as he plays solos with deep nuances that form another sound axis that makes it seem like he can see through Jacob’s mind. Konitz was 86 years old at the time. Although he harbors a fiery passion, he expresses his lyricism casually and calmly. The strong will and leadership of Jakob Bro, who brings together the players of different generations into a single concept, is strongly felt in this fulfilling album.
#285 Billy Hart’s Fascinating Latest Work with Its Intelligent Exploration of Sound
Just / Billy Hart
(ECM-2748 Imported)
Billy Hart is a veteran drummer who is now 84 years old. He has been active at the forefront since the 1960s, playing in the bands of big-name musicians such as Herbie Hancock and McCoy Tyner. Hart has an outstanding taste not only as a drummer but also as a band organizer. It was in 2005 that Hart formed a quartet with Mark Turner, Ethan Iverson (p), and Ben Street (b). “All Our Reasons” and “One is The One” by these members have been released on ECM, and “Just,” recorded at the end of 2021, is the group’s first new album in seven years.
Although the band delivers passionate live performances, their ECM works have well-balanced and cohesive sounds. This sense of balance must match the direction that Hart, as a leader, aims for. Iverson, who had been the pianist for The Bad Plus until 2017, and the other members comprehend the leader’s concept and create restrained constructed beauty. In the tranquil setting of ＜Showdown＞, Hart’s mallets create a mystical atmosphere. ＜Chamber Music＞ exudes a mysterious, floating feeling. And ＜Billy’s Waltz＞ is reminiscent of Bill Evans’s “Waltz for Debby.” For all the numbers, Hart’s fine drum beats add a variety of hues to the sounds. The band’s color of never becoming too passionate remains the same even in tracks with hot themes such as ＜Aviation,＞ ＜Top of the Middle,＞ and the title track ＜Just.＞ The recording took place at Sound On Sound Studios in New York. This intriguing work shows Billy Hart’s intellectual quest as he seeks out new sonic adventures.
About the Author
Masamichi Okazaki
Surrounded by various kinds of music from his childhood, Masamichi Okazaki joined Waseda University Modern Jazz Club. He started contributing articles to music magazines when he was a student. He covers wide range of music not only trad, modern and contemporary jazz, but also from pops to classics. He writes liner notes for CDs and LPs, and is a regular contributor to “JAZZ JAPAN,” “STEREO,” and others. He joined a big band, “Shiny Stockings,” as a saxophone player. He is a director of The Music Pen Club Japan (MPCJ).
