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• Creation — "Creation" features music selected by Keith Jarrett from his improvised solo concerts recorded in 2014 in Japan, Canada, and Europe. Where in the past the solo documentation has shown the improvisational process unfolding over the course of a single evening, this time Jarrett zeroes in on the most revelatory moments from six concerts in Tokyo, Toronto, Paris and Rome and shapes a new dramaturgy from the intuitive sequencing of the material. With this rewarding departure, Keith Jarrett gives us here the most up-to-the minute account of his spontaneously created music. (Creation is one of two releases issued on May 8th, Keith Jarrett’s 70th birthday, the second album being an ECM New Series recording of the pianist playing concertos of Samuel Barber and Béla Bartok).
• In Pas(s)ing — CD from the "Touchstones" Series. LP from the "Luminessence" Series.   Mick Goodrick (1945-2022), hailed as “technically among the finest players around” by Downbeat magazine in their review of this album, was a subtle master on the guitar and an equally understated composer – both qualities to the fore on this, his only leader-recording for ECM. Pianist Fred Hersch called “him the guitar whisperer,” whereas John Scofield has noted how he “got to play with [Mick], which was a valuable learning experience—not to mention fun. I love his ECM album ‘In Pas(s)ing’, a special piece of work which fully holds up to today’s listeners.” For In Pas(s)ing, the guitarist who greatly contributed to Gary Burton’s successful run of recordings for ECM in the 70s was joined by an A-list group of accompanists with John Surman, mainly heard on baritone saxophone here, bassist Eddie Gomez and drummer-legend Jack DeJohnette. Joining in airy, lyrical harmony, the four improvisors deliver a quietly eruptive session, full of discrete interplay and secretly memorable melody. Melody Maker called Goodrick a “composer and leader who is content to allow his music to pirouette gracefully on the spot,” in their review of the album from 1979, expanding: “Of the current ECM-school guitarists, he seems to possess the best blend of traditional virtues with a modern conception. Fashionably unpushy, he nonetheless puts a signature on the music through his cool, singing amplified tone, firm but sparingly dealt backgrounds, and beautiful interplay with Surman.” Also commenting on the sidemen, the article continues, “this is, in any case, among the best recorded Surman in years. Naturally, Gomez and DeJohnette are vital to the record’s success – The momentum they provide is almost supernaturally discreet, but absolutely real.” The album was recorded at Talent Studio in Oslo, in November 1978 and produced by Manfred Eicher.   Re-issued as part of ECM’s Luminessence series, In Pas(s)ing arrives in a tip-on gatefold jacket with new liner notes by Joel Harrison and photos from the archive.  
• La Fenice — This recording of Keith Jarrett’s extraordinary solo performance at Gran Teatro La Fenice in Venice in July 2006 finds Jarrett entering one of Italy’s most famous classical venues and channeling the flow of inspiration to shape something new. In this case, a suite of eight spontaneously created pieces referencing everything from the blues to atonality to heart-rending ballads.   Release of ‘La Fenice’ is timely: The 62nd International Festival of Contemporary Music of the ‘Biennale di Venezia’ has honoured Keith Jarrett with its Golden Lion for Lifetime Achievement. It’s the first time that a “jazz” musician has received this award, which has previously been given to contemporary composers including, in recent decades, Luciano Berio, Pierre Boulez, György Kurtág, Helmut Lachenmann, Sofia Gubaidulina and Steve Reich.
• Places — Recorded in 1977 in Oslo, Places was an important album for Norwegian saxophonist Jan Garbarek, and - with its stellar line-up including Americans Jack DeJohnette and Bill Connors - one that also drew significant attention in the US. “How does Garbarek set up his floating dreamlike moods?” asked Down Beat, and proceeded to itemize components of this “eerie, desolate, bleak” music: “John Taylor plays sustained legato chords, much more like Lutheran church music than, say, Jimmy Smith. The organ provides a backdrop of shifting sonorities…DeJohnette’s playing is airy, concentrating on cymbals, creating shimmering webs of rhythm. Up front is Garbarek, the only real solo voice. He speaks slowly, with attention to detail. He has a fine sense of pitch, so that when he ornaments a note with a bend, a slur or a grace note, it is done precisely, consciously…” The album stands as one of Garbarek’s strongest statements as a player. Reviewing Places in 1978, Don Heckman wrote in High Fidelity that Garbarek was “easily the best sax player to emerge from Europe in the last decade.”
• Rites — “This is the best work for some time from one of the most individual and innovative of all contemporary jazz musicians. Garbarek is one of the few performers to have a completely distinctive sound and style and, regardless of trends, has steadfastly pursued his own creative instincts. ‘Rites’ fuses a huge range of jazz, ethnic and contemporary influences into an extraordinary cohesive whole. – Tim Payne, BBC Music Magazine (1999)   Jan Garbarek’s powerful double-album Rites, with the Norwegian saxophone master in the company of his long-time collaborators Rainer Brüninghaus and Eberhard Weber as well as percussionist Marilyn Mazur and electronics artist Bugge Wesseltoft, was considered both a magnum opus and evocative retrospective of Garbarek’s full artistic breadth when it was originally released in 1998, and it still holds up as a successful compendium, a wholly original, modern musical statement today. There are abundant references to scattered musics of the world spread across the wide idiomatic landscape of the record, from Norway to India, as well as a setting – for voices and saxophone – of a Native American poem, and the surprise inclusion of Jansug Kakhidze’s "The moon over Mtatsminda", sung by its composer with the Tbilisi Symphony Orchestra. Reviewing the double album at the time of its release, BBC Music’s Ian Carr called it “a masterwork and a sort of summary of his development to date, drawing together all the disparate strands of his experience into diverse and compelling new syntheses. Jan Garbarek never ceases to amaze and delight. He’s not only one of the most original and consummate saxophonists of the last three decades, but also a fine composer and a music-maker whose vision seems to expand constantly.”   Released as part of ECM’s Luminessence series, Rites arrives on vinyl for the very first time, issued in a tip-on gatefold jacket with a comprehensive booklet featuring texts and photographs and all the original material from the initial CD release.
• Roma — Roma is the fifth and final concert recording from Keith Jarrett's highly acclaimed last European solo tour of 2016, captured at the Santa Cecilia Hall in Rome on July 12th. It brings the chapter to a close with music that stands apart even within this remarkable series. As the Italian daily paper La Repubblica summarily stated at the time of the concert: “Ultimately, Jarrett celebrates a timeless ritual—one that, in some respects, is as old as humanity itself. He pays tribute to the act of creation, to spontaneous composition, and he does so in front of an audience, sharing with listeners the excitement of discovery.” The procedure on this evening, familiar yet separate, unfolded according to its own inner logic: the canvas is cleared, abound with chromaticism, before familiar touch and lyricism give way to unexpected counterpoint, moments of crystalline lyricism and passages of rhythmic insistence, forming one great architectural structure. If the concerts from Budapest, Bordeaux, Munich and Vienna each revealed a distinct musical landscape, Roma offers another, unmistakably its own.  
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• Home - ECM Records
• Works - ECM Records
• In Pas(s)ing - ECM Records
• La Fenice - ECM Records
• Creation - ECM Records
• Places - ECM Records
• Rites - ECM Records
• Roma - ECM Records