Any ECM slutz in this house?

[Omicron_9]

Originally Posted by Bryan Talbot

I've owned one Jarrett album, he, Jack DeJohnette and a bassist at the Deer Head Inn (or something) in New York. Jarrett's obviously brilliant, but I do wish he'd shut the hell up...I can't handle that mumbling and moaning thing. Eh - what do I know. I sold it.

Anybody ever owned that ten-record set, The Sun Bear Concerts? I always thought you had to be a crazy-rich fanatic to buy that thing.

I have the Sun Bear box set. I like it a lot, but I love KJ's solo works. I picked up a used copy on ebay; I think I pd. $60. for it. Well worth it.

Regards,
-0.9

[zarembo]

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[Bryan Talbot]

Here's a good interview with Mr. Weber. One of my favorite artists ever.

[emkay]

Ralph Towner's Solstice is still one of my all time favourite jazz albums next to Bitches Brew. Also the Sonny Fortune albums and anything with Eberhard Weber on bass and Jorn Christensen on drums. Ofcourse Jan Garbarek. Everything about those recordings--the music---the musicianship---the quality---the ambience almost mystical and mysterious---and lastly, those great album covers!! Wasn't Manfred Eicher the executive producer and owner of the label? Damn, I hope. I'm not getting confused with another label! If I am, you'll have to excuse me--I'm basically a Rock Drummer!!......cheers and thanks for reminding me about this great music that i forgot about.......

[Bryan Talbot]

Originally Posted by emkay

Wasn't Manfred Eicher the executive producer and owner of the label?

And still is. Such a legacy, that most only dream of.

[maikol]

Hello everybody,

Good to see a ECM thread here!


Three beautiful records, some of my all time favorites :

"Angel Song", Kenny Wheeler, Lee Konitz, Dave Holland, and Bill Frisel.
only slow ballads, graceful playing, beautiful!


"Music for Bandoneon and string quartet", Dino Saluzzi and Rosamunde Quartet.
Wonderful neoclassical music, perhaps the record i've listened to the most often! Cut those lights off and enjoy the beauty late at night!


"Acoustic Quartet", Louis Sclavis, Marc Ducret, Bruno Chevillon, Dominique Pifarelly.
improvised/composed contemporary jazz, all acoustic. Not the best sound around but incredible music inside. Not for jazz newbies, though.

Oh and Arvo Paart's "De Profundis"!!! Don't miss that one!!!



These are all post 1980 records, but there's fantastic stuff, as has been said, on vinyl, such as :

"Folk Songs" Garbarek, Haden, Gismonti
Garbarek's only LP that i'm truly fond of


Any CODONA record (Don Cherry, Colin Wallcott, Nana Vasconcelos),


and the list goes on......


To me ECM has been (and still is) one of the only (THE only?) international record label that hasn't given any concession, always keeping real integrity in their catalog (visually, musically and sonically), still being considered "the" different label.


BTW this is now a bit OT, but ECM has for some time distributed a very interesting electronic music label from Norway called Rune Grammofon ( http://www.runegrammofon.com , noticed the very ECMish sober design?).

I'd recommend at least this record: http://www.runegrammofon.com/artists...ationbiomekano
Very minimalistic, slow but with oceanic power, electronic music. This one uses a lot of sound machines' artefacts (cracks, hiss, and larsens,...), which ends with very original textures and sounds. Great sound, very deep lows, and very low level compared to other records of that time, interestingly!



As for the sound, i don't know Mr Eicher , nor have attended any of ECM's recording session, but i know a few french musicians that recorded for ECM, and they told me that Manfred really likes reverb a lot (but you know that, don't you? ), and that Mr Konshaug didn't seem to have any special gear or trick...

He seem's to use most (pretty) close miking with the usual suspects (Neumann's LCCs, C414s, Shoeps, big Sony c800G,i guess Brauner,...well not sure about that!)

At his place he has a Harrison Serie 12 desk (he already had it at the preceding location, called Rainbow studio too, but i do not know when he bought it... S12s have been produced since 1994 i think, so he could have bought it at that time?). That's a digitally controlled analog console (these days they do it mostly full digital, or refurbished for analog ones), which means instantaneous total recall, full dynamic automation of all parameters, small footprint for the remote panel (look at http://www.rainbowstudio.no/index.php?page=3&item=234 , that's 104 channels!!! ) and great great sound!

Being the (probably ) only other music recording/mixing engineer in Europe that has the honnor and immense joy to own such a desk (well mine has an even smaller remote panel and has less channels... ), i think i can tell you how much of a pleasure it is to work with such a fantastic tool!

I think he has a 960L too and perhaps a 6000 (dunno if he still has his 480 though?), and, ... the big mamma 140 of course... all this should be on their website...

Haven't heard of any fancy shmancy fearnevanley toobsyshnooby mic preamp, though...

[maikol]

woops that was a long post, sorry!

[Plush]

I'm helping Martin Pearson record Kieth Jarrett in Chicago for ECM.
We started today and continue tomorrow. It will be a live record.

In previous days I have worked in Estonia for ECM with the Estonian Philharmonic Chamber Choir. ECM IS a label with integrity. At least compared to other labels.

[Remoteness]

Plushy,

I bet that's going to be a sweet date!

All the best to you and everyone involved.

[littledoodler]

Originally Posted by Plush

I'm helping Martin Pearson record Kieth Jarrett in Chicago for ECM.
We started today and continue tomorrow. It will be a live record.

In previous days I have worked in Estonia for ECM with the Estonian Philharmonic Chamber Choir. ECM IS a label with integrity. At least compared to other labels.

Was it Arvo Peart?

[maikol]

Originally Posted by Plush

I'm helping Martin Pearson record Kieth Jarrett in Chicago for ECM.
We started today and continue tomorrow. It will be a live record.

In previous days I have worked in Estonia for ECM with the Estonian Philharmonic Chamber Choir. ECM IS a label with integrity. At least compared to other labels.

Wow great please tell us more!

And, yes i do think too that they have much more integrity than other labels.

I think they have the most homogenous catalog around, while still containing very different things.

I wonder if Manfred Eicher thinks about that integrity when he choses to do a new record, or if he just follows he's personal tastes and feelings?

[Plush]

Originally Posted by littledoodler

Was it Arvo Peart?

Yes, it was Arvo Part. We did all the mid 1990's Part stuff with Tonu Kaljuste.

[zarembo]

thank you for the link to the Eberhard Weber interview Bryan!!!
something about his tone and phrasing cuts right to my core and exemplifies what draws me to ECM style productions.

Nice to hear in his own words his thoughts about making/not making music.

--->
Maikol, great link to the associated electronic site- I really enjoy Biosphere and didn't know about that label.
<---

Plush, you're the second person on this forum to step up about recording Keith Jarrett!!

Sure would be nice if you could give some elaboration about these dates.

long live ECM in the Remote Possibilities forum

[jazzbutcher]

Plush,

Can you tell us about how this recording went? Can you tell us about the room, layout, gear/setup, etc.. ??? I'd love to hear the details of how it all went and what you did to capture the performances.

thanks,

-dave

[Plush]

Originally Posted by Plush in another thread. . .
We got the call for this job because we are piano specialists par excellence.

This was for ECM at Orchestra Hall in Chicago. 2200 seat hall that is the home of the CSO.
Piano was a Hamburg Steinway and a total of 10 mics were used for this recording.

Analog console

Recording was at 24/96 onto an HD 24XR.

Main mics in piano (jazz style) were Schoeps CMC64 cardioids. Per instructions from company, these were panned to player perspective. Mic amp here was Crookwood Paintpot into an analog console.

Next were two B&K 4006 on a stereo bar about 15 feet out from the piano still on the stage. Then two Sennheiser MKH20 omni were spread wide and high over the 3rd row of the audience. Two more 4006's were high in the balcony for audience ambience sounds. Finally two more 4006 were hung high behind the piano on stage and at a little wider width than the piano itself.

About 75% of the recorded sound came from the close pair in the piano and the pair on the stereo bar. DAV Electronics mic amp was not used because we only used mic amps that had continuously variable gain.

Various mic amps were used including the house Syteks and Benchmark preamps.

These were mixed to stereo and recorded on various machines for management, label and the playa.

Sound was killer--program was killer. Reviews of concert were incredible.
Highly enjoyable two days.

[Omicron_9]

Originally Posted by Plush

I'm helping Martin Pearson record Kieth Jarrett in Chicago for ECM.
We started today and continue tomorrow. It will be a live record.

In previous days I have worked in Estonia for ECM with the Estonian Philharmonic Chamber Choir. ECM IS a label with integrity. At least compared to other labels.

Plush,

Were you involved with the Part "Te Deum" album? A favorite of mine for sure.

Regards,
-0.9

[littledoodler]

That is amazing to be a part of peart.

[Bryan Talbot]

Originally Posted by maikol

BTW this is now a bit OT, but ECM has for some time distributed a very interesting electronic music label from Norway called Rune Grammofon ( http://www.runegrammofon.com , noticed the very ECMish sober design?).

Thank you for that.

I do wish there was a way to listen to bits of the stuff. I visited a couple of artists' homepages, but didn't get much...it does look interesting.

[JP66]

Originally Posted by Plush

Originally Posted by Plush in another thread. . .
We got the call for this job because we are piano specialists par excellence.

This was for ECM at Orchestra Hall in Chicago. 2200 seat hall that is the home of the CSO.
Piano was a Hamburg Steinway and a total of 10 mics were used for this recording.

Analog console

Recording was at 24/96 onto an HD 24XR.

Main mics in piano (jazz style) were Schoeps CMC64 cardioids. Per instructions from company, these were panned to player perspective. Mic amp here was Crookwood Paintpot into an analog console.

Next were two B&K 4006 on a stereo bar about 15 feet out from the piano still on the stage. Then two Sennheiser MKH20 omni were spread wide and high over the 3rd row of the audience. Two more 4006's were high in the balcony for audience ambience sounds. Finally two more 4006 were hung high behind the piano on stage and at a little wider width than the piano itself.

About 75% of the recorded sound came from the close pair in the piano and the pair on the stereo bar. DAV Electronics mic amp was not used because we only used mic amps that had continuously variable gain.

Various mic amps were used including the house Syteks and Benchmark preamps.

These were mixed to stereo and recorded on various machines for management, label and the playa.

Sound was killer--program was killer. Reviews of concert were incredible.
Highly enjoyable two days.

thanks for sharing that. really good info.

[SLy_drums]

Hey guys from ECM !

My father is a french jazz pianist named François Raulin, he played (ans still pays sometimes) with Marc Ducret, Bruno Chevillon, Louis Sclavis, ... and I'm sure he recorded at least twice in the ECM studio in Oslo.
One disc is named "Ellington On The Air" (1991) and the other "Les Violences De Rameau" (1995).
I'd love to have some details about the recordings ! I'm mostly a rock/metal guy but I love jazz too (Jarrett, Metheny, Holland, etc.).

Here is a pic I found :

[maikol]

hello Sly,

i'm afraid you're making a mistake...both records you're talking about have been recorded and mixed in France.

Ellington in the air was recorded by Philippe Teissier du Cros at studio Gimmick (40 km from Paris), and Les violences de Rameau was recorded by Gerard de Haro at studio La Buissonne (south of France).

Moreover, do i make a mistake if i say that your father is not on the picture you posted???

My partner and friend Sylvain Thevenard knows those people quite well (he has worked with quite all of them, he actually works with your father on his new live project!), and BTW he reminds me that Ellington in the air was not released by ECM but IDA.

Another Louis Sclavis record, "Acoustic Quartet" has been recorder in Oslo, and it's probably the only one.

cheers,
michael

[SLy_drums]

Hello Michael,

I think I could have done a mistake, I always thought at least Ellington... was recorded in the ECM studio, but maybe they just mixed the album there ?
I know they use to work with the great Gerard De Haro, but didn't know those albums were recorded in La Buissonne.

My father is on the picture, it's the guy with the grey shirt. It's him that sent me this "souvenir" pic a few months ago, and it was entitled "ECM something", so I thought that could be the studio in Olso (because I remember we talked together about it, but I don't know if it was that for particular disc).

And yeah Ellington was released first by IDA, but I don't know the reason why the disc in on the ECM page ?

[maikol]

oops... sorry i hadn't recognized him!!! They all look so young!!!

Actually Ellignton...was recorded and mixed by Philippe Teissier du Cros (one of the very few great engineers in France along with Gerard de Haro).

I guess it is now on ECM because IDA doesn't exist anymore... ?


But, who's the guy between Bruno Chevillon and your father?

Isn't that François Merville? If yes, that couldn't be the Rameau record, nor the Ellington one...

[SLy_drums]

Yeah, they are really young !!

I think it's Christian Ville, but you're right he didn't play on Ellington... nor Rameau (Francis Lassus was the drummer), so that pic should maybe have been taken during the recording/mixing process of "Chine" in 1987.

[maikol]

mmm you might be right about "chine"!