Thanks. That’s a fantastic recommendation!
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This was released last month. Accordion player Jean-Louis Matinier, who played on the Tarkovsky Quartet albums and others, is joined by the guitarist Kevin Seddiki. It’s a super album and makes a refreshing change.
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That sounds interesting, thanks. Cuing it up…
I really enjoyed that! Thanks.
Yes, he was part of that group. He also played with Brahem on Le voyage de Sahar.
Another new ECM I’m enjoying immensely is this. The singing is really beautiful. Creek was an Estonian composer who died in the early 60s and Vox Clamantis are excellent.
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Will give this a listen. Do you like Harry Christophers and the Sixteen?
Can also recommend the albums Souvenance and The Astounding Eyes of Rita.
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I wasn’t aware of them until now and will take a listen. Thanks.
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“Souvenance and The Astounding Eyes of Rita” are fantastic albums!
…I am biased however since I enjoy his music and have purchased a number of his albums. You may also want to give ‘Madar’ a listen which has Jan Garbarek and Ustad Shaukat Hussain along with Anouar.
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Thanks for the this, will give it a listen 
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Talking of having fun, your recommendation of La Feniche prompted me to listen to Inside Out by Jarrett, Peacock and DeJohnette.
2000 Royal Festival Hall.
Wonderful music, and a great recording.
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I was at the first night of the two nights that make up Inside Out. At the time it was a bit of a surprise as we were expecting standards…
Must be interesting to listen to it having been there.
(I have a CD of Sonic Youth gig in Central Park, N.Y. that I attended in 1992, which reminds me viscerally of that memorable time.)
I lived in Battersea in 2000 when you saw that gig, so I could have gone to it myself, had I known how good it was going to be.
But I saw almost all my jazz at Ronnie Scott’s in those days.
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Both wonderful!
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This thread prompted me to listen to Alina last night. Its been quite a while since my last listen and my system is set up better than it was. With the system resolving greater detail, I noticed many nuances I hadn’t realised were there and it made me wonder how to play this recording.
It is recorded at particularly low volume and Im not sure if thats because it’s meant to be listened to that way. If I turn up the volume to my usual listening levels (75 - 80dB(A) average) some background sounds seem to add to more than just ambience and fidelity, they are occasionally distracting. I have tried to find information about the volume but other than comments that yes, it is recorded at low volume, I can’t find any information about why this is or if the intention is for it to be played that way.
I listened last night at lower volume than I normally would, enough to detect everything that was going on but not enough to be distracted by anything other than the music. I think playing this at a lower volume really enhances its delicacy and last night I enjoyed one of those moments where the music just embraces you and carries you away. The rain falling on the skylight was the perfect accompaniment…
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That’s interesting.
I listen to almost everything on low or very low volumes.
(Except occasional blasts of rock music, often when people are out.)
I do this partly to save my hearing, and partly so as not to disturb sleeping children above the listening room.
There is usually a ‘just right’ volume range for that track at that time.
I try to stay at the lower end of that range most of the time.
As far as I know, one aspect of Eicher’s approach is to start tracks softly, to ease the listener into the music.
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I don’t think my usual listening level is particularly high at around 75dB but it might not be ideal for sleeping children!
In the case of Alina, to play just the loudest parts at my normal volume means moving the volume control a long way, which makes me wonder if it is intended to be played at a low level. My own experience last night would seem to suggest low volume is the best way to listen.
68TH ANNUAL DOWNBEAT CRITICS POLL
68th Annual DownBeat Critics Poll
We are pleased to announce that Manfred Eicher is voted ‘Producer of the Year’ and ECM ‘Record Label of the Year’ in the leading US jazz magazine’s poll. This sums up to a dozen time in recent history that ECM and its producer have topped the poll. Furthermore, Steve Swallow is again ‘Electric Bassist of the Year’, and many more ECM artists and releases can be found amongst the top ranked finalists.
Thank you, DownBeat Magazine!
Full results of the 67th International Critics Poll are published in the August issue of DownBeat. https://downbeat.com/news/detail/carrington-tops-2020-downbeat-critics-poll
DownBeat magazine published an extensive, insightful feature on Manfred Eicher and ECM last year. If you missed it, you can find it online here: https://downbeat.com/news/detail/ecm-manfred-eicher-search-for-sublime
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Hi Adrian. Thanks for the link to the Downbeat feature last year, which I’d not read before. It just so happens I’m listening to the most recent album by Carla Bley, Steve Swallow and Andy Sheppard, which somehow captured a really nice moment. Let’s hope the label continues to thrive. N
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