ECM’S LATEST
Arild Anderson w/ The Scottish National Orchestra: Celebration
Here are 3 recent releases by the venerable and explorative ECM records, displaying visions that inspire, amuse and befuddle. Bassist Arild Anderson fronts an orchestra directed by Tommy Smith during a concert performance in Glasgow. After the blistering take of Dave Holland’s “May Dance” which features the conductor’s fiery tenor, the concert coalesces into an intriguing mix between orchestral movements with Andersen’s bass creating thick grooves, solos and segues within tunes such as Jan Garbarek’s “Molde Canticle” and Chick Corea’s “Crystal Silence.” The melding of moods and textures reaches an apotheosis on an enriched and penetrating enunciation of Keith Jarrett’s “My Song,” bringing out harmonies and pastels that can only be hinted at with a piano. Wondrous music.
Louis Sclavis-Atlas Trio: Sources
Clarinetist Louis Sclavis has a wonderfully rich and woody sound, no matter which type of clarinet he rolls his fingers around. This time around, he joins with a team of Benjamin Moussay/key and Gilles Coronado/elec g, a mix that could actually do some exciting stuff, having heard mixes like this in countless Greek, Jewish and Armenian social events. Unfortunately, the material, typified by “Pres d’Hagondage” promises to keep going somewhere, but never completes the conversation. What you’re left with, on material such as “Migration” or “Quai Sud” are ideas that are ALMOST themes, riffs that are ALMOST rhythms and chords that are ALMOST going somewhere. Beautiful sounds that aren’t saying anything. Ever date someone like that?
John Surman: Saltash Bells
John Surman releases the ultimate solo album, performing on (take a deep breath): tenor, soprano and baritone saxes, alto, bass and contrabass clarinets, harmonica and synthesizer. He uses all of these instruments in a wide range of settings, from solo to almost orchestral, with the melding of sounds, rather than digital dexterity, being the call of the day. And it works, really well. A monastic chant of “Glass Flower” is as thoughtful and calming, while small “group” pieces such as “Whistman’s Wood” create moody atmospheres; a gentle stream of synthesized rhythm trickles along while the tranquil bass clarinet delivers hints of sepia shades. Hints of Glazunov sax quartets on “Triadchorum” come off like an Ellington section of Gonsalves, Procope, Hodges and Carney, while his soto voce on “Saltash Bells” and “Sailing Westwards” begin with geyser-like gurgles that slowly gush into warm blasts of lava. Fascinating music.
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