JOHN ABERCROMBIE — The First Quartet (2015) RM | 3CD-SET | Old & New Masters Edition Series | FLAC (tracks+.cue), lossless

As part of ECM's Old & New Masters series of box sets, John Abercrombie's The First Quartet collects three albums recorded for the label between 1978 and 1980. Two titles, 1979's Abercrombie Quartet and 1981's M, have been unavailable for decades. By the guitarist's own admission, this band represents the guitarist's first time as a "proper" bandleader. His earlier dates on ECM had been co-led sessions (Timeless, Gateway, Sargasso Sea), a solo album (Characters), and sideman gigs (Jack DeJohnette's New Directions, David Liebman's Lookout Farm, etc.). These three dates also represent an important foundation for Abercrombie as a composer. Arcade's title track is an energetic post-bop number that borders on jazz-rock, with keen interactions between the front-line players and the rhythm section. Another aspect of the band's conversational ability can be heard on Richie Beirach's gentle "Nightlake." Their lyrical interplay on the ballad "Paramour" is almost luxurious. The long journey on the pianist's "Alchemy" spends its first half as a ballad, but eventually moves into higher gear with almost euphoric group improvisation. Abercrombie Quartet's most inspiring moments include the syncopated cooking on "Blue Wolf," the moody yet focused "Dear Rain," and the more rockist groove that drives "Riddles." It gets more ponderous on "Stray" (where the piano solo jumps from the tune's nearly washed-out body as a genuine surprise) and on the closing "Foolish Dog" -- despite a fine mandolin-guitar break and woody, fluent solo from George Mraz. "Boat Song," the opening track on M, showcases a deeper collective confidence all around. The tune emerges rather than begins. The foundation is a repetitive six-note pattern by Beirach. Abercrombie catches and builds on it, seemingly one extra note at a time, until he's sliding through one series of fluid harmonic inventions to the next during his solo. The shimmering cymbal and snare work by Peter Donald adds a swinging waltz feel to the bottom. "What Are the Rules" is a canny open improvisation that works exceptionally well. "Flashback" haltingly follows suit before transforming itself into a funky groover. Closer "Pebbles," written by the bassist, seems to circle back to "Boat Song," but it's more elliptical until his bassline grounds the more atmospheric interplay of the front line and Donald becomes the bridge to communication. While none of these recordings is perfect, they are all necessary parts of Abercrombie's catalog. What's more, they remain thoroughly engaging after all these decades. The simple fact that the quartet form remains one of this guitarist's favorite ways of working well into the 21st century can be attributed to the creative fire and enduring merit of what is found here. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Arcade (1979)
1. Arcade 9:43 
Composed By – John Abercrombie
2. Nightlake 5:35 
Composed By – Richie Beirach
3. Paramour 5:09 
Composed By – John Abercrombie
4. Neptune 7:34 
Composed By – Richie Beirach
5. Alchemy 11:33 
Composed By – Richie Beirach 
Abercrombie Quartet (1980)
1. Blue Wolf 8:33 
Composed By – John Abercrombie
2. Dear Rain 6:54 
Composed By – John Abercrombie
3. Stray 6:36 
Composed By – Richie Beirach
4. Madagascar 9:05 
Composed By – Richie Beirach
5. Riddles 8:12 
Composed By – Richie Beirach
6. Foolish Dog 6:18 
Composed By – John Abercrombie 
M (1981)
1. Boat Song 9:57 
Composed By – John Abercrombie
2. M 6:19 
Composed By – John Abercrombie
3. What Are the Rules 7:33 
Composed By – Richie Beirach
4. Flashback 6:17 
Composed By – Richie Beirach
5. To Be 5:17 
Composed By – John Abercrombie
6. Veils 5:44 
Composed By – Richie Beirach
7. Pebbles 4:45
Composed By – George Mraz
Credits :
Double Bass – George Mraz
Drums – Peter Donald
Guitar, Mandoguitar [Mandolin Guitar] – John Abercrombie
Piano – Richie Beirach

GARY PEACOCK · RALPH TOWNER — Oracle (1993) Two Version | FLAC (image+.tracks+.cue), lossless

This set of duets by bassist Gary Peacock and guitarist Ralph Towner, as one might expect from an ECM album, makes expert use of space and has its quiet moments. But there is a surprising amount of ferocious interplay between the two musicians. They may play at a consistently low volume, but the set of originals has a few rather passionate grooves and a little more energy than one would have predicted. Scott Yanow
Tracklist :
1. Gaya 5:45
 Gary Peacock 
2. Flutter Step 5:45
 Gary Peacock 
3. Empty Carrousel 5:48
 Gary Peacock 
4. Hat And Cane 5:12
 Ralph Towner 
5. Inside Inside 5:55
 Gary Peacock 
6. St. Helens 1:52
 Gary Peacock 
7. Oracle 7:20
 Gary Peacock / Ralph Towner 
8. Burly Hello 5:53
 Gary Peacock 
9. Tramonto 6:21
  Ralph Towner 
Credits :
Gary Peacock - Double Bass
Ralph Towner - Classical and 12-String Guitars

ANOUAR BRAHEM – بعد السماء الأخيرة = After The Last Sky (2025) FLAC (tracks+.cue), lossless

Oudist and composer Anouar Brahem has kept a low profile since 2017's Blue Maqams. He appeared with Anja Lechner and Francois Couturier on Lontano, but has otherwise been absent. Brahem enlists longtime collaborator/bassist Dave Holland and pianist Django Bates -- both appeared on Blue Maqams. Lechner appears in place of the last album's drummer, Jack DeJohnette, and is the first cellist to appear on one of Brahem's LPs. Recorded in Switzerland, it was produced by Manfred Eicher. The album's name echoes the title of a 1986 book by cultural critic, activist, and author Edward Said, and was derived from a line by Palestinian poet Mahmoud Darwish: "Where should the birds fly, after the last sky?" Begun before October 6, 2023, it is nonetheless deeply inspired by the horror and suffering experienced by Palestinians in Gaza. Brahem wrote new compositions and reworked some of the earlier ones to communicate and evoke raw emotion about this situation. Lechner's poignant cello is primary, up front. She and Brahem move through Eastern modes and motifs, blurring the lines between folk, classical, and jazz.

Opener "Remembering Hind" is a case in point. Under two minutes, the cello and piano deliver Brahem's minor-key melody with nearly processional grace and, despite the relative quiet, rippling emotion. The title track, at nearly six minutes, commences with an oud solo that foreshadows the melody. When Bates enters, he accedes to the restraint, at least until the cellist joins in, and it becomes a melancholy fantasia. The interplay between Holland and Brahem is almost symbiotic. "The Eternal Olive Tree," an oud/bass duet, showcases warmly dissonant harmonies in a celebration of survival and resilience. The duo embrace the blues directly in highlighting Gaza's struggle alongside modal and jazz motivics in their improvisation. "Awake," the set's hinge track, melds classical crossover, Tunisian folk styles, and restrained improv. The bass pattern that introduces "Dancing Under the Meteorites" is a constant pulse that evolves into a tango vamp. Lechner and Bates play around it, touching on the style in their joint conversation until Brahem's contrapuntal solo cements the tune as gorgeous tango-jazz fusion. He offers another lengthy improvisation on the bittersweet, musically riveting "The Sweet Oranges Of Jaffa"; Lechner joins him and delivers her own. Her long experience of improvised music guides her interaction with Brahem and underscores the harmonic invention in her solo. It and the labyrinthine, poignant, inventive "Never Forget" are offered here as hymns of remembrance, adding depth and dimension. It's followed by the tender piano and cello duet "Edward Said's Reverie." The set closes with his beloved "Vague," marking the third time he's recorded it.

The release also includes a long liner essay (for ECM) by U.S. editor of The London Review of Books Adam Schatz, who is also a noted journalist and critic. He offers key reflections on Brahem's music, the Palestinians' fight to exist, and the culture around both. After the Last Sky is a reflective, yet powerfully emotional and virtuosic listening experience. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1.    Remembering Hind 1:52
Composed By [Composition By] – Anouar Brahem
2.    After The Last Sky 5:42
Composed By [Composition By] – Anouar Brahem
3.    Endless Wandering 8:11
Composed By [Composition By] – Anouar Brahem
4.    The Eternal Olive Tree 4:00
Composed By [Composition By] – Anouar Brahem, Dave Holland
5.    Awake 8:49
Composed By [Composition By] – Anouar Brahem
6.    In The Shades Of Your Eyes 4:27
Composed By [Composition By] – Anouar Brahem
7.    Dancing Under The Meteorites 4:25
Composed By [Composition By] – Anouar Brahem
8.    The Sweet Oranges Of Jaffa 7:13
Composed By [Composition By] – Anouar Brahem
9.    Never Forget 7:49
Composed By [Composition By] – Anouar Brahem
10.    Edward Said's Reverie 2:58
Composed By [Composition By] – Anouar Brahem
11.    Vague 3:13
Composed By [Composition By] – Anouar Brahem
Credits :
Double Bass – Dave Holland
Oud – Anouar Brahem
Piano – Django Bates
Producer [Produced By] – Manfred Eicher
Violoncello – Anja Lechner

HÄNDEL : Suites for Keyboard (Keith Jarrett) (1995) Two Version | FLAC (image+.tracks+.cue), lossless

Having paid tribute to Johann Sebastian Bach in a sequence of New Series recordings of the Well-tempered Clavier, the Goldberg Variations and the French Suites, Keith Jarrett now turns his attention to Bach’s near contemporary, Georg Friedrich Händel. The project, in fact, has been in preparation for a long time; Jarrett’s liner note informs us that he first began to record Händel’s keyboard suites some 20 years ago. The present recording is of particular interest for a number of reasons and not least because it is the first of his albums of baroque music to feature the piano – as opposed to harpsichord – since Book One of the Well-tempered Clavier was issued in 1988. Where, in his Bach recordings, Keith Jarrett has striven to obliterate his musical personality ("This music does not need my assistance"), he feels Händel’s "basically unknown" solo keyboard music needs a measure of special pleading. And, though he has gone to "the least tampered with editions" of the suites in the interests of "correctness both musicological and musical", in making the case for their reassessment he permits himself some interpretive leeway in matters of tempi and phrasing. The result is an extremely attractive reading of seven of the Suites for Keyboard that can perhaps be more readily related – particularly in the adagio movements, where Jarrett takes full advantage of the lyrical warmth and textural richness of the material – to aspects of the pianist’s improvised recordings than can his Bach interpretations. (Or, to put it another way, these pieces, in the right hands, retain the freshness of improvisation). "Händel was a keyboardist, " Jarrett notes, "and his keyboard works should occupy a higher position in our awareness than they do." Keith Jarrett’s playing on this recording invites comparison with his interpretation of Dmitri Shostakovich’s 24 Preludes and Fugues Op. 87 (a work that creates a bridge, via Bachian inspirational sources, from the baroque to the "modern"). Jarrett’s Shostakovich prompted John Rockwell to declare, in the pages of the New York Times: "With this recording, Mr. Jarrett has finally staked an indisputable claim to distinction in the realm of classical music. Even in our multicultural, multistylistic age, it is extremely difficult to cross over from one field to another. Mr. Jarrett, having long since established himself in jazz, can now be called a classical pianist of the first rank." ECM
Georg Friedrich Handel  (1685-1759)
1-4.    Suite HWV 452 (G Minor)
5-8.    Suite HWV 447 (D Minor)
9-12.    Suites II / No.7 HWV 440 (B-flat Major)
13-16. Suites I / No.8 HWV 433 (F Minor)
17-20. Suites I / No.2 HWV 427 (F Major)
21-25. Suites I / No.4 HWV 429 (E Minor)
26-29. Suites I / No.1 HWV 426 (A Major)
Piano – Keith Jarrett

KEITH JARRETT — A Multitude Of Angels (1996-2016) 4CD BOX-SET | FLAC (tracks+.cue), lossless

Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 -- some 20 months after the concert captured on La Scala. These were his last concerts before being sidelined for two years from chronic fatigue syndrome. Jarrett is musician, producer, and engineer here. The performances were captured to his Sonosax DAT recorder seemingly without the view of release at the time. They were sent direct from the piano to transformer-less microphones to the machine, with no mixing board in between. While it's not as raw as The Melody, At Night, With You, his set of intimate home recordings, there is a less airy, less pristine feel in the sound of these recordings.
Sound is only one aspect of what makes these recordings different. In the accompanying booklet, Jarrett describes these discs as the "pinnacle" of his career in the sense that these were uninterrupted performances (no set breaks) in smaller rooms with quiet audiences (a big bugaboo of his, all before the advent of the digital age). Though he was weakened by the burden of his as yet undiagnosed illness, he goes for it here. The gorgeous interpolations of folk, funky gospel, and jazz during the Modena concert's first ten minutes (disc one) are among the most joyous in his catalog. Jarrett describes these shows as if he were ordained by fate to be in the moment as if "playing for the last time." The unfettered feel in his improvisation is sometimes choppier and more rugged than elsewhere in his catalog -- though his playing remains astonishing both technically and creatively. Check the knotty classical improvisations in the second part of Modena where he encounters -- and extrapolates on -- ragtime and modal jazz in blocks, feints, stops, and starts that all flow through the well without obstacle. Processional balladic improv introduces the first half of the Torino show on disc three. It shifts and shimmers, emerging as a wedding of Bach and torch song before stripping itself to the bone. Its final section investigates a repetitive phrase with an extended view of harmony and rhythm. The final show in Genova (disc four) concludes with a fantastically funky blues encore before the pianist delivers a reading of Harold Arlen's "Over the Rainbow." Jarrett's never delivered it with such tenderness before -- at least on record -- as he illuminates the hidden magic in its lithe harmony. For fans of the pianist, A Multitude of Angels is an indispensable document. It's not only wildly creative, but deeply soulful, spiritual, and dazzling in both variety and facility.   
 -> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 

Modena October 23,1996
1-1 Part I 34:18
Music By – Keith Jarrett
1-2 Part II 31:19
Music By – Keith Jarrett
1-3 Danny Boy 5:00
Music By – Frederic Weatherly

Ferrara October 25, 1996
2-1 Part I 43:48
Music By – Keith Jarrett
2-2 Part II 29:58
Music By – Keith Jarrett
2-3 Encore 3:26
Music By – Keith Jarrett

Torino October 28, 1996
3-1 Part I 42:23
Music By – Keith Jarrett
3-2 Part II 31:35
Music By – Keith Jarrett

Genova October 30, 1996
4-1 Part I 31:41
Music By – Keith Jarrett
4-2 Part II 31:43
Music By – Keith Jarrett
4-3 Encore 5:52
Music By – Keith Jarrett
4-4 Over The Rainbow 6:03
Music By – E.Y. Harburg, Harold Arlen
Credits :
 Piano – Keith Jarrett

 Modena October 23,1996
1-1 Part I 34:18
Music By – Keith Jarrett
1-2 Part II 31:19
Music By – Keith Jarrett
1-3 Danny Boy 5:00
Music By – Frederic Weatherly

Ferrara October 25, 1996
2-1 Part I 43:48
Music By – Keith Jarrett
2-2 Part II 29:58
Music By – Keith Jarrett
2-3 Encore 3:26
Music By – Keith Jarrett

Torino October 28, 1996
3-1 Part I 42:23
Music By – Keith Jarrett
3-2 Part II 31:35
Music By – Keith Jarrett

Genova October 30, 1996
4-1 Part I 31:41
Music By – Keith Jarrett
4-2 Part II 31:43
Music By – Keith Jarrett
4-3 Encore 5:52
Music By – Keith Jarrett
4-4 Over The Rainbow 6:03
Music By – E.Y. Harburg, Harold Arlen
Credits :
 Piano – Keith Jarrett

THE GARY BURTON QUINTET with EBERHARD WEBER — Ring (1974) Three Version | APE + FLAC (image+.tracks+.cue), lossless

Burton plays the vibroharp with superb delicacy which tops off the spirals of harmonic sound. Each track shifts in mood seamlessly from the one before - with writing credits to Goodrick, Mike Gibbs and Carla Bley before an interpretation of Weber's Colours of Chloe rounds off the record.An all time favourite jazz record, for a quieter mood. A classic ECM release.

Tracklist :

1. Mevlevia 6:00
 Mick Goodrick
2. Unfinished Sympathy 3:04
 Michael Gibbs
3. Tunnel Of Love 5:33
 Michael Gibbs
4. Intrude 4:52
 Michael Gibbs
5. Silent Spring 10:35
 Carla Bley
6. The Colours Of Chloe 7:12
 Eberhard Weber 

Credits :

Gary Burton - Vibraharp

Mick Gooddrick (1 to 3, 5, 6) - Guitar

Pat Metheny - Guitar, Electric 12-String Guitar

Eberhard Weber (1 to 3, 5, 6), Steve Swallow - Bass

Bob Moses - Percussion

Produced by Manfred Eicher

SHOSTAKOVICH : 24 Preludes and Fugues, Op. 87 (Keith Jarrett) (1992) 2CD | FLAC (tracks+.cue), lossless

Dmitri Shostakovich's epic series of preludes and fugues for solo piano was inspired by the very composer whom you would immediately suspect -- Johann Sebastian Bach. Indeed, the Russian composer was motivated to write this huge work after a visit to Bach's home city Leipzig in 1950; and, in fact, it resurrects the premise behind Bach's "The Well-Tempered Clavier," providing one prelude and fugue for every major and minor key. So having conquered the Bach work on recordings, Keith Jarrett decided to tackle its 20th century sequel in this two-CD set. Looking at it from one angle, this is Jarrett's most impressive technical achievement in the classical repertoire so far. Generally speaking, the Shostakovich is more difficult to play than the other classical works that he had recorded previously, and he is clearly up to all of its sometimes fearsome demands. From an interpretive angle, though, Jarrett doesn't get as much out of this music as, say, the late Russian pianist Tatiana Nikolaeva, who gave the first performances of the work. With Nikolaeva, each note is captured and spotlighted in ever-changing lights. Jarrett is on the hunt for detail, too -- the "No. 11," "15," and "17" fugues are particularly invigorating in that respect -- yet much of the time, he tends to color things in one way. Part of this impression may be due to the sound of his piano, which is treated with ECM's usual soft-focused cloud of reverb. For Jarrett fans who are following his classical adventures, this could be a most intriguing left turn, but those seeking the definitive recording of the pieces would find Nikolaeva more stimulating. Richard S. Ginell
Dmitri Shostakovich (1906-1975)
CD1. Preludes And Fugues Op.87, 1-12
CD2. Preludes And Fugues Op.87, 12-24
Piano – Keith Jarrett

JAN GARBAREK with TERJE RYPDAL — Esoteric Circle (1969-1987) FLAC (tracks+.cue), lossless

Jan Garbarek had studied with the great American composer George Russell, and had previously appeared on Russell's venture into jazz-rock, Electronic Sonata for Souls Loved By Nature. Whereas his teacher's usage of rock rhythms in an avant jazz context often came off as rather clunky, for Garbarek and his guitarist, Terje Rypdal, formerly a member of the popular Norwegian band the Vanguards, such a melding was more second nature. The Esoteric Circle, the first album by their band of the same name (hey, this was still the '60s after all), is a highly successful and enjoyable effort, one that can stand comfortably with work being done at that time by Tony Williams or John McLaughlin. Garbarek's compositions range from deeply felt homages to Coltrane ("Traneflight" and "Nefertite") to rocking jams like "Rabalder," where Rypdal gets to showcase his considerable chops. In fact, some of these themes were used by Russell in his aforementioned work. Garbarek's own playing, here entirely on tenor, come largely out of Albert Ayler as well as Coltrane, and his general attack is much more raw and aggressive than the style for which he would eventually become more widely known through his recordings for ECM. Listeners who enjoy his first several albums for that label (from Afric Pepperbird to Witchi-Tai-To) will find much to savor here. Brian Olewnick   

Tracklist :
1 Traneflight 2:51
 Jan Garbarek
2 Rabalder 8:15
 Jan Garbarek
3 Esoteric Circle 5:22
 Jan Garbarek
4 Vips 5:40
 Jan Garbarek
5 SAS 644 8:49
 Jan Garbarek
6 Nefertite 2:05
 Jan Garbarek
7 Gee 1:10
 Jan Garbarek
8 Karin's Mode 7:30
 Jan Garbarek
9 Breeze Ending 3:39
 Jan Garbarek
Credits :
Bass – Arild Andersen
Drums – Jon Christensen
Guitar – Terje Rypdal
Producer – George Russell
Tenor Saxophone – Jan Garbarek 

DON CHERRY · DEWEY REDMAN · CHARLIE HADEN · ED BLACKWELL — Old And New Dreams : Playing (1981) FLAC (tracks+.cue), lossless

This Austrian concert CD features the four notable Ornette Coleman alumni (trumpeter Don Cherry, tenor saxophonist Dewey Redman, bassist Charlie Haden and drummer Ed Blackwell) stretching out on three of Ornette's tunes, plus a song apiece from Cherry, Redman and Haden. Although Cherry's chops were not quite in peak form anymore, Redman is consistently stirring. Recommended, as are Old and New Dreams' other three releases. Scott Yanow
Tracklist :
1 Happy House 11:20
Written-By – Ornette Coleman
2 Mopti 7:40
Written-By – Don Cherry
3 New Dream 9:20
Written-By – Ornette Coleman
4 Rushour 7:04
Written-By – Dewey Redman
5 Broken Shadows 9:47
Written-By – Ornette Coleman
6 Playing 9:51
Written-By – Charlie Haden
Credits :
 Double Bass – Charlie Haden
Drums – Ed Blackwell
 Tenor Saxophone, Suona [Musette] – Dewey Redman
Trumpet, Piano – Don Cherry

ARVO PÄRT — Alina (1999) FLAC (tracks+.cue), lossless

Arvo Pärt is a living national treasure to Estonia, and this album reveals such intimate access to his faith, sadness, and humility. Structured in five parts, Alina is a simple, chilling invocation of heartfelt desire comprised of only two movements that alternate with subtle variation. The opening lullaby of "Spiegel im Spiegel" is a gentle and melancholy embrace between Sergej Bezrodney on piano and Vladimir Spivakov on violin, where every note steps gracefully forward, as if ascending a fragile staircase. In contrast, the two movements of "Für Alina" leave a little room for structured improvisation, as the top note in each chord is left for the performer to, as Pärt puts it, "explore within themselves." Thus, Alexander Malter deserves special recognition for breathing such mournful sweetness into these passages through every fingertip; every delicate cluster of notes shines like a distant star through a wintery black night. Malter stays on for the middle section of "Spiegel im Spiegel" and, with violoncello from Dietmar Schwalke, adds a more somber deliberateness to the piece that pianist Bezrodney shies away from in his performances (tracks one and five), instead opting for restrained tenderness. The disc closes much in the same way it opens: as if a prayer of deepest longing were just whispered into the still air. Frequent ECM producer Manfred Eicher calls upon his usual strengths, by letting the instruments speak for themselves in the right acoustical settings -- less is certainly more, and the stark beauty of Alina comes partly from what we hear between the notes: such a rich and gorgeous silence. This is perhaps one of Pärt's finest releases on compact disc, though one of his quietest. These are the tears of ghosts. Glenn Swan   
Arvo Pärt (b.  1935)
1 Spiegel Im Spiegel 10:36
Piano – Sergej Bezrodny
Violin – Vladimir Spivakov
2 Für Alina 10:47
Piano – Alexander Malter
3 Spiegel Im Spiegel 9:12
Piano – Alexander Malter
Violoncello – Dietmar Schwalke
4 Für Alina 10:53
Piano – Alexander Malter
5 Spiegel Im Spiegel 9:48
Piano – Sergej Bezrodny
Violin – Vladimir Spivakov

CHRIS POTTER — The Sirens (2013) FLAC (tracks+.cue), lossless

The Sirens is Chris Potter's debut as a leader for ECM but he’s no stranger to the label. He recorded as a member of Dave Holland's band, and collaborated with Paul Motian and Jason Moran on Lost in a Dream. The saxophonist’s quintet here includes pianist Craig Taborn -- a member of Potter's electric ensemble Underground -- bassist Larry Grenadier, drummer Eric Harland, and the relatively unknown David Virelles, texturing the proceedings on prepared piano, celeste, and harmonium. Creating a concept album as your first offering for a new label is a brave endeavor, but Potter rises to it. The Sirens is inspired by his re-reading of Homer's The Odyssey; he was moved by the enduring qualities of humanity in that epic, and wrote the entire album in two weeks. Potter's inherent lyricism is evident from opener "Wine Dark Sea," that offers the feel of the first romantic, tentative steps when embarking on an adventure. After a brief intro, Grenadier sets a groove articulated by Taborn, whose painterly chords offer a palette for Harland. When Potter commences the melody, that "sea" is wide open with possibility. His songlike quality is underscored by Taborn's beautiful fills and comps. Potter's tenor solo is warm, inviting, searching. "Dawn (With Her Rosy Fingers)" is introduced by Grenadier's melodic bassline and Taborn's tasteful coloration. When Potter enters, his lines become spidery, alternately inquisitive and emotionally expressive. On the title cut he plays both bass clarinet and tenor. Grenadier's bass is bowed and the sense of seductive foreboding is made plain, even as the lyric line remains mysterious and spare. The entire tune becomes a lament in revelation after the bassist's gorgeous argo solo. Potter's soprano soars in "Penelope," yet it remains, true to form, expressive of only what is necessary to communicate the music's dictates and not his considerable athleticism. The gentle sting provided by Harland and Taborn makes the tune irresistible. "Kalypso" is a taut post-bop tune with wonderful articulations from Harland, Taborn, and Grenadier locking it down even as they grow it out. The culmination of drama and sense of emotional homecoming expressed in "Stranger at the Gate" would have made it a fitting end piece -- were it not for the whispering duet between Virelles and Taborn on "The Shades" that gives the set its sense of rest and closure. Potter's vision and compositions on The Sirens never lose sight of his goal: portraying the eternal essence of humanity in the mythos of his subject; his poetic lyricism as a soloist, and his empathy as a bandleader are consummate.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1. Wine Dark Sea 8:49
 Chris Potter
2. Wayfinder 6:52
 Chris Potter
3. Dawn (With Her Rosy Fingers) 7:26
 Chris Potter
4. The Sirens 8:39
 Chris Potter
5. Penélope 7:16
 Chris Potter
6. Kalypso 8:25
 Chris Potter
7. Nausikaa 5:43
 Chris Potter
8. Stranger at the Gate 8:15
 Chris Potter
9. The Shades 2:11
 Craig Taborn / David Virelles
Credits :
Chris Potter - Soprano and Tenor Saxophones, Bass Clarinet
Craig Taborn - Piano
David Virelles - Prepared Piano, Celeste, Harmonium
Larry Granadier - Double Bass
Eric Harland - Drums

EBERHARD WEBER — Chorus (1985) Two Version | APE (image+.cue), lossless + FLAC (tracks+.cue), lossless

One might easily switch the title of Eberhard Weber’s Chorus with that of Fluid Rustle and none would be the wiser. Where the latter brims with voices and color, this relatively monochromatic effort is more like a shift of clothing in the shadows. Until this point, Weber’s ECM projects had been inclined toward epic statements. These ranged from overwhelmingly sun-drenched reveries (The Following Morning) to moonlit fields of introspection (Later That Evening). With the release of Chorus, however, Weber reached a new level of intimacy. Joined only by Jan Garbarek on soprano and tenor saxophones and Ralf Hübner (one of Germany’s most important jazz drummers), Weber pares his sonic brush for a new kind of script.

Over the course of seven unnamed parts, we find all the staples of the Weber experience. The, yes, fluid electro-bass and synth drone of Part I will be familiar to the Weber enthusiast, only here we encounter something quite different. Where before these territories engulfed us, now they are painted inside us. Similarly, every note from Weber’s bass in Part II is a ripple that finds only slight resistance from our inner walls as it expands toward the oncoming night, but ever with the dawn in mind. Garbarek floats his gorgeous lines one drop at a time, melting through the doublings of Parts III and IV and on to the arco strains of Part V. This scribbled palette cleanser slides into the pulsing depths of Part VI. Here the band achieves something special, making for the suite’s most powerful nodes of emotion. The final part eases us into a lovely thread of electric piano that makes this one of Weber’s most perfect constructions and beyond reason enough to own the album.

As I revisit Chorus for this review, the police sirens loudening and fading outside my window remind me of the transformative power of its music, which makes of those sirens a bird of light screaming across the canvas of the sky. Like the fade on which it ends, it leaves its body behind—a kite cut from its string which, instead of falling, continues floating ever higher until it burns quietly in the sun. ECM

Chorus
1. Part I (7:37)
2. Part II (5:38)
3. Part III, IV (7:48)
4. Part V (3:26)
5. Part VI (7:38)
6. Part VII (8:17)
All composed by Eberhart Weber
Credits :
Eberhard Weber - Bass, Synthesizer
Jan Garbarek - Soprano and Tenor Saxophones
Ralf-R. Hübner - Drums

JAN GARBAREK — Dansere (2012) 3CD-SET | Old & New Masters Edition Series | FLAC (tracks+.cue), lossless

A welcome return to the ECM catalog for three of the most striking of the early recordings which Jan Garbarek made for the label in the 1970s. In different but related ways Sart (1971), Witchi-Tai-To (1973) and Dansere (1975) brought freshly intelligent and invigorating perspective to bear on questions of dynamics, group sound, interaction and swing, the relation of improvisation and abstraction to the roots of jazz, and the relevance of archetypal yet freshly inflected folk forms to contemporary music. Two ensembles are heard here – Garbarek/Stenson/Rypdal/Andersen/Christensen on the exploratory Sart, and the spirited Jan Garbarek-Bobo Stenson Quartet, one of the most exciting groups of the era. ECM
CD1: Sart (ex ECM 1015)
1. Sart 14:45
2. Fountain Of Tears – Part I and II 6:03
3. Song Of Space 9:39
4. Close Enough For Jazz (Arild Andersen) 1:59
5. Irr 7:15
6. Lontano (Terje Rypdal) 2:12
Musicians :
Jan Garbarek - Tenor and Bass Saxophones, Flute
Bobo Stenson - Piano, Electric Piano
Jon Christensen - Percussion
Terje Rypdal - Guitar
Arild Andersen - Double-Bass

CD2: Witchi-Tai-To (ex ECM 1041)
1. A.I.R. (Carla Bley) 8:15
2. Kukka (Palle Danielsson) 4:32
3. Hasta Siempre (Carlos Puebla) 8:10
4. Witchi-Tai-To (Jim Pepper) 4:24
5. Desireless (Don Cherry) 20:25
Musicians :
Jan Garbarek - Soprano and Tenor Saxophones
Bobo Stenson - Piano
Palle Danielsson - Double-Bass
Jon Christensen - Drums

CD3: Dansere (ex ECM 1075)
1. Dansere 15:03
2. Svevende 4:59
3. Bris 6:11
4. Skrik & Hyl 1:30
2. Lokk (after Thorval Tronsgard, arr. Jan Garbarek) 5:39
6. Til Vennene 4:47
 Musicians :
Jan Garbarek - Soprano and Tenor Saxophones
Bobo Stenson - Piano
Palle Danielsson - Double-Bass
Jon Christensen - Drums

JACK DeJOHNETTE — Pictures (1977) FLAC (tracks+.cue), lossless

Tracklist :
1 Picture 1 4:48
 – Jack DeJohnette
2 Picture 2 7:57
 – Jack DeJohnette
3 Picture 3 5:13
 – Jack DeJohnette, John Abercrombie
4 Picture 4 5:21
 – Jack DeJohnette
5 Picture 5 6:05
 – Jack DeJohnette
6 Picture 6 7:52
 – Jack DeJohnette
Credits :
Drums, Piano, Organ – Jack DeJohnette
Electric Guitar, Acoustic Guitar – John Abercrombie (tracks: 3 to 5)

STEVE REICH — The ECM Recordings (2016) Old & New Masters Edition Series | 3CD SET | FLAC (tracks+.cue), lossless

Early in his career, Steve Reich released three groundbreaking albums on ECM Records that established his relationship with this forward-looking label and solidified his reputation as a major American composer. With the recording of Music for 18 Musicians in 1978, Reich received widespread praise from both listeners and critics, and its success led to the subsequent release in 1981 of Octet; Music for a Large Ensemble; Violin Phase, which expanded Reich's catalog of pattern-based instrumental works, and Tehillim in 1982, which revealed his interest in his Jewish heritage and his new emphasis on vocal music. This limited-edition package presents these essential albums on three CDs with the original album art reproduced on cardboard sleeves. This is a must-have set that will bring back fond memories for owners of the original vinyl records. Considering the drawback of having to change sides in the middle of Music for 18 Musicians, many old-timers know that having that cherished performance on CD is a dream come true. Of course, these works have entered the repertoire of many contemporary music ensembles, and several outstanding recordings have been made since these albums first appeared. But this is an important piece of history that collectors and fans of minimalism should snap up immediately. Blair Sanderson
Tracklist 1 :
Music For 18 Musicians
1.    Pulse – Sections I–X – Pulse (56:31)
Cello – Ken Ishii
Clarinet, Bass Clarinet – Richard Cohen, Virgil Blackwell
Marimba, Maracas – Gary Schall
Marimba, Xylophone – Bob Becker, Glen Velez, Russ Hartenberger
Marimba, Xylophone, Piano – David Van Tieghem
Metallophone, Piano – James Preiss
Performer [Performed By] – Steve Reich And Musicians
Piano – Nurit Tilles, Steve Chambers
Piano, Maracas – Larry Karush
Piano, Marimba – Steve Reich
Violin – Shem Guibbory
Voice – Elizabeth Arnold, Pamela Fraley, Rebecca Armstrong
Voice, Piano – Jay Clayton
Tracklist 2 :
Octet • Music For A Large Ensemble • Violin Phase
1. Music For A Large Ensemble (15:28)
Bass [Basses] – Judith Sugarman, Lewis Paer
Cello [Cellos] – Chris Finckel, Michael Finckel
Clarinet [Clarinets] – Richard Cohen, Virgil Blackwell
Flute – Mort Silver
Marimba [Marimbas] – Gary Schall, Glen Velez, Richard Schwarz, Russ Hartenberger
Piano [Pianos] – Edmund Niemann, Larry Karush, Nurit Tilles, Steve Reich
Soprano Saxophone [Soprano Saxophones] – Ed Joffe, Vincent Gnojek
Trumpet [Trumpets] – Douglas Hedwig, James Dooley, James Hamlin, Marshall Farr
Vibraphone – James Preiss
Viola [Violas] – Claire Bergman, Ruth Siegler
Violin [Violins] – Robert Chausow, Shem Guibbory
Voice [Voices] – Elizabeth Arnold, Jay Clayton
Xylophone [Xylophones] – Bob Becker, David Van Tieghem
2. Violin Phase (15:09)
Violin – Shem Guibbory
3. Octet (17:29)
Cello – Chris Finckel
Clarinet [Clarinets], Bass Clarinet [Bass Clarinets], Flute [Flutes], Piccolo Flute [Piccolos] – Mort Silver, Virgil Blackwell
Piano [Pianos] – Edmund Niemann, Nurit Tilles
Viola – Ruth Siegler
Violin [Violins] – Robert Chausow, Shem Guibbory
Tracklist 3 :
Tehillim
1. Tehillim Parts I & II 17:25
Alto Vocals [Alto] – Jay Clayton
Bass – Lewis Paer
Cello – Chris Finckel
Clarinet, Flute – Virgil Blackwell
Clarinet, Piccolo Flute [Piccolo] – Mort Silver
Conductor – George Manahan
English Horn – Ellen Bardekoff
Oboe – Vivian Burdick
Electric Organ [Electric Organs] – Edmund Niemann, Nurit Tilles
Soprano Vocals [High Sopano] – Pamela Wood*
Soprano Vocals [Lyric Sopano] – Rebecca Armstrong
Soprano Vocals [Lyric Sopano], Soloist [Solo At Beginning And End Of First Part] – Cheryl Bensman
Tambourine [Tuned Tambourines (Without Jingles)], Handclaps [Clapping], Maracas, Marimba, Vibraphone, Crotales – Bob Becker, Garry Kvistad, Gary Schall, Glen Velez, Russ Hartenberger, Steve Reich
Viola – Ruth Siegler
Violin – Robert Chausow, Shem Guibbory
2. Tehillim Parts III & IV
Alto Vocals [Alto] – Jay Clayton
Bass – Lewis Paer
Cello – Chris Finckel
Clarinet, Flute – Virgil Blackwell
Clarinet, Piccolo Flute [Piccolo] – Mort Silver
Conductor – George Manahan
English Horn – Ellen Bardekoff
Oboe – Vivian Burdick
Electric Organ [Electric Organs] – Edmund Niemann, Nurit Tilles
Soprano Vocals [High Sopano] – Pamela Wood*
Soprano Vocals [Lyric Sopano] – Rebecca Armstrong
Tambourine [Tuned Tambourines (Without Jingles)], Handclaps [Clapping], Maracas, Marimba, Vibraphone, Crotales – Bob Becker, Garry Kvistad, Gary Schall, Glen Velez, Russ Hartenberger, Steve Reich
Viola – Ruth Siegler
Violin – Robert Chausow, Shem Guibbory

GARY PEACOCK w/ JAN GARBAREK · TOMASZ STAŃKO · JACK DeJOHNETTE — Voice From The Past - PARADIGM (1982) APE (image+.cue), lossless

This abstract quartet recording by bassist Gary Peacock features Jan Garbarek on tenor and soprano saxes, Tomasz Stanko on trumpet, and Jack DeJohnette on drums. The interplay between Peacock and DeJohnette, captured roughly two years before the release of the first Keith Jarrett standards record, is especially interesting. One only wishes the horns weren't so tinny. Highlights include the freebopping "Moor" (a piece that dates back to the early '60s), the lyrical "Ode for Tomten," and the chill-inducing "Voice From the Past." (The latter resurfaced on 2001's Amaryllis, with Marilyn Crispell and Paul Motian.) David R. Adler
Tracklist :
1. Voice From The Past 11:00
2. Legends    7:40
3. Moor 4:58
4. Allegory 9:35
5. Paradigm 6:44
6. Ode For Tomten 9:25
Credits :
Bass, Composed By – Gary Peacock
Drums – Jack DeJohnette
Producer – Manfred Eicher
Tenor Saxophone, Soprano Saxophone – Jan Garbarek
Trumpet – Tomasz Stańko

CHICK COREA — Children's Songs (1984) FLAC (tracks+.cue), lossless

Chick Corea began writing his Children's Songs in 1971 and recorded the complete set of 20 in 1984. There's nothing inherent in the piano miniatures to indicate that they are especially for children. They aren't written for children to perform, because while they are musically straightforward, they are technically and interpretively far from easy. Most of them last between one and two minutes. The set is nicely varied in mood and style; some pieces are recognizably jazz-inspired and some are reminiscent of the more accessible movements of the Ligeti etudes. All of them, whether playful or wistful, have a gentle, generous tone that should appeal to people of all ages, not only children. While they communicate with an uncomplicated directness, they are structurally and harmonically sophisticated, and in no way water down the inventiveness for which Corea is known. The composer plays them with fluidity and grace. The album also includes Corea's Addendum, a whimsical and graceful trio for violin, cello, and piano that Ida Kavafian, Fred Sherry, and the composer play with lightness and charm. ECM's sound is characteristically stellar, absolutely clean, and present. Michael G. Nastos

Tracklist :
1-19 Children's Songs
Chick Corea - Piano
20    Addendum 5:10
Chick Corea - Piano / Cello – Fred Sherry / Violin – Ida Kavafian
Credits :
Composed By, Piano – Chick Corea

EDWARD VESALA — Nan Madol (1976) FLAC (tracks+.cue), lossless

Finnish percussionist Edward Vesala’s debut on ECM Records may also be his most fiery outing for the label. On the album, Vesala assembles a particularly lively big band of Finns, who interpret his music with blazing colours. In 1976, when the album was released, Melody Maker suggested that “John Coltrane might have made music like this had he been born a European. ‘Nad Madol’ is an orgy of sound, no other description can suffice and ‘Areous Vlor Ta’ remains one of the most extraordinary and moving big band scorings…. Put it next to ‘Ascension’ in your collection.” ECM
Tracklist :
1    Nan Madol    6:02
2    Love For Living    3:47
3    Call From The Sea    1:58
4    The Way Of...    12:09
5    Areous Vlor Ta    12:39
6    The Wind    9:23
Credits :
Alto Saxophone, Nadaswaram [Nagaswaram] – Charlie Mariano (tracks: 5)
Bass Clarinet – Pentti Lahti (tracks: 6)
Drums (tracks: 1, 4 to 6), Flute [Flutes] (tracks: 1), Harp [Harps] (tracks: 2), Percussion (tracks: 1, 3, 6), Composed By, Arranged By, – Edward Vesala
Double Bass – Teppo Hauta-aho (tracks: 1, 4 to 6)
Flute – Charlie Mariano (tracks: 6), Sakari Kukko (tracks: 1), Seppo Paakkunainen (tracks: 6)
Flute, Bells, Voice – Juhani Aaltonen (tracks: 6)
Harp – Elisabeth Leistola (tracks: 4)
Piccolo Flute – Juhani Aaltonen (tracks: 4)
Soprano Saxophone – Juhani Aaltonen (tracks: 1, 2), Pentti Lahti (tracks: 5), Seppo Paakkunainen (tracks: 5)
Tenor Saxophone – Juhani Aaltonen (tracks: 4, 5)
Trombone – Mircea Stan (tracks: 5)
Trumpet – Kaj Backlund (tracks: 1, 4, 5)
Viola [Alto Violin] – Juhani Poutanen (tracks: 1)
Violin – Juhani Poutanen (tracks: 1, 4, 5)
Voice – Teppo Hauta-aho (tracks: 6)
Voice, Bells – Juhani Poutanen (tracks: 6)

ANDREW CYRILLE | WADADA LEO SMITH | BILL FRISELL — Lebroba (2018) FLAC (tracks+.cue), lossless

Lebroba, Andrew Cyrille's second leader date for ECM, finds the septuagenarian rhythm explorer trading in all but guitarist Bill Frisell from the quartet that recorded 2016's fine The Declaration of Musical Independence (with bassist Ben Street and pianist Richard Teitelbaum). This bass-less trio also features trumpeter/composer Wadada Leo Smith. While this setting is somewhat unusual, Frisell is quite familiar with it, performing in this same setting on Ron Miles' 2014 offering Circuit Rider. Back in 2010, the guitarist led another unusual trio for Beautiful Dreamers with sidemen Eyvind Kang on viola and Rudy Royston on drums.
In fact, this set's opener is a redo of the guitarist's "Worried Woman," from the latter album, a lithe charmer of a melody wherein Frisell envelops himself in a call-and-response conversation on the lyric with Smith's as Cyrille colors time around the beat rather than on it. The longest piece here is Smith's nearly formless "Turiya: Alice Coltrane Meditations and Dreams: Love" at over 17 minutes. The tune is mostly "free," though the trumpeter, in true signature fashion, sketches out spaces for emphasis on dialogic exchanges that evolve from melodic fragments to dissonance and back again, with Cyrille's colorful, textured rhythmic pulses bridging the gap between frontline players. Despite the fragmented nature of the piece, the intuitive interplay between the trio's members is canny, welcoming, and thoroughly enjoyable. Cyrille's title track is based on an eight-bar blues, but it's a chameleon-like work. There are lyric aspects that recall Charles Mingus' "Good-Bye Pork Pie Hat," but Smith's soulful, muted trumpet abstractions -- ever the picture of tasteful economy -- highlight and underscore Frisell's turnarounds and expressionist reflections of deep blue Americana from the Delta to Chicago. The five-plus-minute "TGD" is credited to the group, commencing with Cyrille's dancing snares and whispering cymbals through Frisell's effects-laden soloing and sonic smears and fills and Smith's interrogatory improvisation above and around the paying of his bandmates. The only complaint is that given the nearly symbiotic nature of communication in this improvisation, the track doesn’t go on long enough. The juxtaposition of Frisell's subtly shaded chordal voicings and long single notes by Smith in the intro to the drummer's closing rubato ballad, "Pretty Beauty," are breathtakingly poignant. Cyrille's hushed and spacious use of brushes around the lyric line, highlight its dips and subtle assertions, which are exchanged by guitarist and trumpeter to create an achingly beautiful groupspeak that seemingly creates a narrative language from air. While much of Lebroba is gentle, none of it is nebulous or speculative. This trio engages in the kind of magical interplay that only extremely experienced players can conjure.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Worried Woman 7:35
Music By – Bill Frisell
2    Turiya:Alice Coltrane / Meditations And Dreams:Love 17:24
Music By – Wadada Leo Smith
3    Lebroba 5:44
Music By – Andrew Cyrille
4    TGD 5:17
Music By – Andrew Cyrille, Bill Frisell, Wadada Leo Smith
5    Pretty Beauty 6:24
Music By – Andrew Cyrille
Credits :
Drums – Andrew Cyrille
Guitar – Bill Frisell
Trumpet – Wadada Leo Smith

VIJAY IYER | CRAIG TABORN — The Transitory Poems (2019) FLAC (tracks+.cue), lossless

Despite distinctive individual approaches to composition and improvisation, jazz pianists Vijay Iyer and Craig Taborn are kindred spirits. They are celebrated as innovators and stylists, are approximately the same age, and most importantly, share an important foundational experience playing in Roscoe Mitchell's Note Factory together in the early years of the century, recording the album Song for My Sister.

Transitory Poems documents a 2018 live concert at the Franz Liszt Academy in Budapest. In his brief liner notes, Iyer states that they documented their performance in the aftermath of a 12-month period that saw the passing of pianists Cecil Taylor, Muhal Richard Abrams, and Geri Allen, and the cosmological abstract expressionist painter and sculptor Jack Whitten, whose work was deeply influenced by John Coltrane. The title of the album comes from an interview quote by Taylor. Opener "Life Line (Seven Tensions)" is a 13-minute exercise in flow that reveals without doubt that the two men are not merely "jamming," but spontaneously composing together. In varying shades of light and dark they interact with adroit single lines and contrapuntal chord voicings as they engage in everything from modern classical music to speculative moments of inquiring repose and angular boogie-woogie. "Sensorium," dedicated to Whitten, is a short, four-minute work that layers fleet counterpoint in abstraction in a manner that evokes the ghost trace of the artist whose signature method was the immediate yet systemic way he layered acrylic paint. "Kairos" downshifts, examining the sparsity of sound as it intersects with silence, with insertions of precise melodic interpolation that eventually claim the fore as tight rhythmic chords entwine in a dance that unfurls in narrative space. "S.H.A.R.D.S." begins similarly, but gradually engages jazz motivics and sharp rhythmic statements to unfurl in a whirlwind of four-handed playing alongside a bluesy Motorik pulse. The final three works are all dedications. "Clear Monolith" for Abrams is nearly 11 minutes and commences with sparse staccato statements in lower and upper registers simultaneously with minimal, bell-like responses on single keys. In the middle section, animated movement asserts chorded tonal inquiry balanced by crystalline space. "Luminous Brew" is dedicated to Taylor and emerges as if it has always been there. The deep register of the bass keys rumble ominously as open modal chords add dimensionality to their voice. Flitting moments of ragtime and Ellingtonia and are woven into the forceful yet elegant unfolding as chromatics and expanded harmonics create a mysterious homage. Closer "Meshwork/Libation/When Kabuya Dances," dedicated to Allen, asserts itself with articulate force and contrapuntal energy as stacked arpeggios meet precise bass notes and chords before erecting a galloping call and response that slowly evaporates as it introduces Allen's shimmering, tender, playful "When Kabuya Dances." Transitory Poems is a wonderful recording. The energy, ideas, and instinctive musicality of Iyer and Taborn is full of surprises, canny camaraderie, deft techniques, understatement, and symbiotic difference; they combine to add immeasurably to the all-too-slim catalog of duo albums in the jazz piano tradition.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Life Line (Seven Tensions) 13:02
Composed By – Craig Taborn, Vijay Iyer
2    Sensorium 4:17
Composed By – Craig Taborn, Vijay Iyer
3    Kairòs 8:56
Composed By – Craig Taborn, Vijay Iyer
4    S.H.A.R.D.S. 9:11
Composed By – Craig Taborn, Vijay Iyer
5    Shake Down 6:40
Composed By – Craig Taborn, Vijay Iyer
6    Clear Monolith 10:46
Composed By – Craig Taborn, Vijay Iyer
7    Luminous Brew 8:17
Composed By – Craig Taborn, Vijay Iyer
Meshwork / Libation / When Kabuya Dances    (12:48)
8.1    Meshwork
Composed By – Vijay Iyer, Craig Taborn
8.2    Libation
Composed By – Vijay Iyer, Craig Taborn
8.3    When Kabuya Dances
Composed By – Geri Allen
Credits :
Piano – Craig Taborn, Vijay Iyer
Producer [Produced By] – Manfred Eicher