ECM, World Record Day

Before World Record Day, I wanted to share something a bit different.

We spend a lot of time talking about systems, design, and sound. But ultimately this all leads back to music.

Mike Blackmore has written this piece for us. If you’ve followed Lowther for a while, you may recognise his name. He has a deep love for the music itself, and this is the first part of a short series he’s putting together.

Have a great weekend all!

Guest Writer: Mike Blackmore

You may recall my article, for our blog, on the difference magnets make to the sound of full range drive units and in particular how this applied to the Lowther Alnico drive units. So before you have me down as a complete equipment junkie I thought I would share, with a more musical obsession of mine, the Munich based ECM jazz label.

If Blue Note can be described as the quintessential American jazz label Edition of Contemporary Music (ECM) might be described as the quintessential European jazz label. Such is my love of jazz, in all its various guises, I find it hard to name a favourite jazz label, (let alone a favourite jazz album), but ECM would have to be my “desert island” choice. It’s fair to say that I could not live without my near daily fix……it’s that good!

So what is it that makes this album label so special you may ask? Well like Blue Note the recording quality is the very best. Manfred Eicher the founder/owner/producer is as fastidious about production and recording as I am about music reproduction. Second best for him is never an option. This has resulted in a “house ECM sound” which has become internationally famous. Every part of the chain is overseen with the obsession of the perfectionist. You might find, (as I do), that not every single record is completely to your taste, but you can be sure the recording and its production will be top notch every time.

So apart from the above what else makes the label special. Well for starters the artists that record on the label. Although ECM has its fair share of American artists, the overall majority are European and this adds to the overall flavour and effect. Some of the greatest exponents of the jazz world record on the label, and loyalty to ECM is just as great with the artists as it is with its buying public. Examples of this can be found in the extensive catalogue, with some artists having been with the label since its beginning in 1969. These artists do of course record for other labels. Many dabble in recording on their own labels, but many continue to record with ECM, or even return to the label at a later date. I can’t say for certain but the reason for this maybe is that they hear and love that “house sound” I referred to earlier. Once you are tuned in that sound is almost palpable and is down to the production, engineering, and recording standards that the label adheres to.

Without naming names, I can give you an example of this. Recently a certain group recorded its latest release on its own label. It was a very good recording, from a great group of much loved musicians, but to my ears, and that of friends who likewise follow the group, it did not quite have the allure of previous ECM recordings. If the recording had been on ECM the resulting sound and feel of the album, would have been different and to standard of the group’s previous offerings on ECM. The difference was down to the lack of that elusive “house sound”. Production, recording, and engineering are always that important in my view.

So is it possible to describe that “house sound”. Well others have. On the web it’s described as the trademark “European” jazz sound being sparse, atmospheric, and highly acoustic. I’d agree with that description but would add the word magical. It’s almost as if producer Manfred Eicher has a jar of fairy dust which he sprinkles on every recording he oversees. Manfred is not getting any younger, and I worry if when he is gone, that sound will disappear. That would be a tragedy for future generations of jazz lovers but his and the labels legacy will go on. Fifty seven years on and it still is just as quintessential and influential.

So now it’s time for your homework. You’re reading this via the web so you know how to access it! If you want to know more about the history of the ECM label please go onto the net and type in “history of ECM record label”. It’s all there. Likewise if you need to look at the labels current and back catalogue it’s on www.ecmrecords.com which will also give details of their artists on tour. Unfortunately most ECM artists stick to mainland Europe these days, but Ronnie Scott’s and the occasional UK jazz festival attracts some of them to our shores. As always listening to live music is important and rewarding.

In part 2 ,next time, I will set out some of my favourite ECM recordings and artists. In the meantime I thought you might like to have a listen to the recording that many people rate as the best ever ECM offering. I refer of course to Keith Jarrett’s The Koln Concert (1975). This recording is worth a whole article on its own, such is the background to the recording, and the folklore around it. Before listening research it’s history on the net. It certainly has a mystical background and, as you may know, Jarrett nearly pulled the plug on what went on to become ECM’s big seller that established the labels on going future. It’s fascinating stuff of legend. A case of “the wrong piano being played at the right time” (for ECM if not Keith Jarrett).

Lastly check out one of my current fave ECM recordings Dance of the Elders. This features Austrian guitarist Wolfgang Muthspeil, with Americans Scott Colley on double bass and Brian Blade on drums. This gentle ambient and atmospheric recording represents (in my view) what ECM is all about. Fabulous musicians, great music and a great sound. Every track is good but for me the standout tracks are first track Invocation, the title track, and the last track Amelia. (yes by Joni Mitchell). I have a download on Tidal plus the CD. Also available on vinyl. By the way CD and vinyl quality is again exemplary due to a tie up with legendary Deutsche Grammophon.

Keep listening.

Mike Blackmore.