#nowspinning #ecm #jazz #musicsky #vinyl
Barre Phillips — ‘Mountainscapes’
Without doubt my favourite ECM record ever and a massive personal inspiration. Imagine 1970s Miles Davis with krautrock synths and you’re partway there. Funky, chaotic, mathematically precise, and atmospherically beautiful.
Picture of postdoc Krista Habing at her desk in the Naba lab
Delighted to welcome our newest postdoc, Krista Habing, to the lab!
Krista will develop novel proteomics technology to gain insights into the #ECM. She will also explore the roles of SNED1 in craniofacial development.
Welcome Krista! I look forward to the many discoveries we'll make together 👩🔬
🎊 Big congratulations to Leanna Leverton on successfully defending her PhD dissertation!
It has been a pleasure and a privilege to watch her grow as a researcher. Her hard work, curiosity, and persistence led to exciting discoveries about the #ECM and a fantastic defense!
Congrats Dr. Leverton 🎓
yellowish gatefold cover of "bennie maupin - the jewel in the lotus" standing upright on the technics. front is bennies head inside a big red, blue and green leafed flowers, dark yellow background. vinyl record, with simple blue ecm labels, playing below.
on now
bennie maupin - the jewel in the lotus
1974/05.2025 ecm records 1043 12" luminessence series
a bit late on this one, was curious but refused to go full price.. it really grabs me rn, seems special, maybe i'm just in the mood. that gatefold cover looks ace.
🐺
#wolfsmixedbag #BennieMaupin #ecm
From the 2010 #ECM debut for bassist Michael Formanek - The Rub and Spare Change was magic...with Tim Berne; alto saxophone; Craig Taborn: piano; Gerald Cleaver: drums, and the opener is an eye opener with its melodically moody and mysterious soundscape!
#JazzMusic
#JazzSky
#NowPlaying
#ECMRecords
#nowplaying #ecm #jazz #musicsky #vinyl
Jack DeJohnette’s Directions — ‘Untitled’
Step 28 in my #ecmodyssey is ECM 1074. The sticker says I got this at Academy in New York by memory says it came from World of Echo in London.
#nowplaying #ecm #jazz #musicsky #vinyl
Kenny Wheeler — ‘Gnu High’
Getting back to the usual programme, step 27 in my #ecmodyssey is ECM 1069. Nice. This was recently reissued but mine is a US original bought at Black Noise in Bellingham. Will I ever get to go back there?
#nowplaying 'Dis' (1977) by Jan Garbarek, who turns 79 years old today.
#jazzsky #ECM #musicsky
#nowplaying #ecm #jazz #vinyl
Circle — ‘Paris-Concert’
Step 26 in my #ecmodyssey is a step back to ECM 1018/19 (although my US OG lists it as 2-1018). Going back because I just picked up a copy of this. Unlike most early free-jazz-adjacent ECMs, this is far from rare, so I’d passed on it before.
#tumormicrobiome #hmgb1 #necrosis #adhesion #antibioticresistance #secretion #immuneregulation #LPS #ECM
doi.org/10.1016/j.ch...
#nowplaying #ecm #jazz #vinyl
Terje Rypdal — ‘Odyssey’
Step 25 in my #ecmodyssey is ECM1067/68 aka… ‘Odyssey’. It’s one I’ve considered selling (maybe just cos the genre/title combo evokes Spinal Tap). Glad I still have it as @berlintypography.bsky.social recently told me it was his fave Terje.
#nowplaying #ecm #jazz #vinyl
Eberhard Weber — ‘Yellow Fields’
Step 24 in my #ecmodyssey is ECM 1066. All the Weber albums from this period are great and they have lovely covers too. German original in beautiful condition. Sticker in Hebrew on the back, for some reason.
Flyer of the Matrix Biology Europe conference listing invited speakers
Registration for #MBE2026 is now open!
Join us in Oulu 🇫🇮 for the flagship European meeting dedicated to fundamental #ECM research.
ECRs and trainees, this is a unique chance to connect with leaders in the field, present your work, gain visibility, and build your network!
More at www.mbe2026.org
From the very first album, ever, released by the iconic music label #ECM was not from a European jazz artist, but from US pianist Maldron in 1969 entitled Free At Last with
Isla Eckinger – bass
Clarence Becton – drums
#JazaMusic
#JazzSky
#ECM
#MalWaldron
#NowPlaying
The first time I heard this record, I barely noticed what was going on within it, subconsciously pitching it, I suppose, as a kind photo-ambient offering. But in more recent years, attentive listening reveals the movement and connectivity within the work of the two trios featured on the LP. Side one often just plays on repeat mode.
Recorded in the hot New York summer of 1967, the 17-minute-long Ending slowly marks out each player’s respective areas as they slip in and out of trio formation. It’s a conversation that doesn’t encourage repetition, where reclusive piano notes skulk between the reverberations of snare and cymbal or the telling economy of laconic bass. As each player revolves within their respective sphere of influence, when they gradually overlap or align, fresh exchanges are sparked. It’s this process of gentle accretion and dissolution that gives Ballads its intense but quiet beauty.
This is the second vintage New York recording of Bley’s on ECM, and it’s easy to grasp Eicher’s attraction and why he sought to adopt them, given that the aural spaciousness that would come to define ECM recordings is present, albeit in nascent form, throughout Ballads. A minimalist painting in sound that stands well outside the decade of its creation, it possesses a timelessness that’s indicative of the best kind of art. That quality seems wholly appropriate for a man whose 1999 autobiography was entitled Stopping Time.
Annette Peacock’s writing provides the conceptual underpinnings, while the respective trios do the heavy lifting. Her role here is crucial to the album's success, and she doesn't get anything like enough credit for her work. Speaking to The Wire in 1983 about working with Bley, she said, “I wrote music specifically for that time, that environment, and that particular person. Whatever I did for him had to be fresh and give the musicians something to work on or towards, creating an environment for them to work within. The free movement at that time was just pure energy, just chaos - ‘We’re free at last! - I looked at that, and I could see a balance had to be struck, so I started off writing music that wasn’t in time, it just had speeds. Music that didn’t deal with traditional chord shapes but relationships between harmony and dissonance, and how they interacted. That opened up a whole new world to me as a composer.”
Paul Bley
Ballads ECM 1010
Recorded in 1967, in what could be a Morton Feldman score for jazz trio or a manifesto for The Necks' sonic minimalism, Bley’s poetic ear charts starry clusters that grow, glow, and fade within the gauzy expanse of Annette Peacock's stellar writing. #ECMFirst100 #ECM
One of my favorite Kenny Wheeler was the 1977 lyrically lush #ECM release Deer Wan with:
Kenny Wheeler – trumpet, flugelhorn
Jan Garbarek – tenor , soprano saxophone
John Abercrombie – electric guitar, mandolin
Dave Holland – bass
Jack DeJohnette – drums
#JazzMusic
#JazzSky
#NowPlaying
#ECMRecords
#nowplaying #ecm #jazz #vinyl
Keith Jarrett — ‘The Köln Concert’
Step 23 in my #ecmodyssey is ECM 1064/65. One of maybe two actual hit albums the label has ever released. And the previous owner did not take very good care of this copy. All of which helps to explain why it only cost me 25c.
📣 New Podcast! "Reencuentros en el Más Allá: Experiencias Cercanas a la Muerte y Amores Perdidos" on @Spreaker #amor #ecm #reencuentro
Next up: Douglas Gould, PhD 👁️
2026 President-elect of the ASMB and Professor at the University of California, San Francisco.
His work links ECM biology to vision and disease.
✨ Watch: youtu.be/9S3qPxUEBgg
#MEETTHEPRESIDENTS #ECM #MATRIXBIOLOGY
Meet Thomas H. Barker, PhD 🔬
2026 President of the American Society for Matrix Biology and Professor at the University of Virginia.
His lab studies ECM signaling, repair, fibrosis, and regeneration.
👀 Watch his full #ASMB2025 interview youtu.be/Dw_BVGWkI94
#MEETTHEPRESIDENTS #ECM #MATRIXBIOLOGY
Say hello to Ambra Pozzi, PhD 🧬
Past President of the #ASMB, whose leadership helped shape the community we celebrate in our #ASMB2025 interview series.
🎥 Watch the full interview: youtu.be/7Ys0rsieCiE
#MEETTHEPRESIDENTS #ECM #MATRIXBIOLOGY
From the 2001 #ECM release by bassist Eberhard Weber and his lyrically lush Endless Days with Paul McCandless on woodwinds, Rainer Brüninghaus on piano and keyboards, and Michael DiPasqua on drums and percussion
#JazzMusic
#JazzSky
#ECM
#EberhardWeber
#NowPlaying
The first piano trio since Mal Waldron’s Free At Last goes in a very different direction as these three engage in rapid cycles of hyperactive exchanges. Sometimes it’s too much, and they splutter and stutter for breath in the sheer exuberance of it all. But when it all works, and they get out of the way of each other, ka-pow!
The powerful reading of Wayne Shorter’s Nefertiti opening the album swings like the clappers and comes with none of the caution it had when the same trio recorded it for the previous year’s The Song Of Singing for Blue Note. Here at TonStudio Bauer in Ludwisburg, it barrels in with something approaching a swagger that is irresistible. Just over a month after this recording, Corea, Hollan,d and Altschul would perform Nefertiti on stage with Anthony Braxton, beautifully captured on Circle’s Paris-Concert.
Dave Holland’s Vadana is a real show-stealer with the bassist’s heartfelt shadow melodies burnishing Corea’s spacious framing. The real curio however, is Corea’s Thanatos. Taking over a minute and a half to fade in on what sounds like a typical improv, no sooner than it finally arrives, it immediately takes the same amount of time to fade back out into silence. With a title also alluding to death, the whole thing clocks in at a potentially significant 4.33. A Cagean coincidence? An oblique comment upon the ultimate silence?
This record has had three variant covers over the years. First, I think, there's the Scientology-inspired triangle graphic emblazoned with the letters ARC, which, as any acolyte will breathlessly tell you, stands for Affinity, Reality, and Communication. Then, the same year in Germany, ECM issued a quite atypical for the time photograph of a cinematic-looking landscape, the very first one to grace an ECM release. And thank goodness they did, as it means we get to enjoy Lajos Keresztes’s photograph of an open road stretching off to the distant mountains. It surely expresses more about the music’s wide-open aspirations than the dodgy cult speak quoted on the rear of the other pressing. Keresztes, who escaped the Hungarian uprising of 1956, first studied architecture in Munich and, in 1961, photography in Cologne, going on to travel the world gathering sublime images, several of which would appear on the covers of future ECM and JAPO releases.
Chick Corea/David Holland/Barry Altschul
A.R.C. ECM 1009
Having guested on ECM 1004, Corea’s first album as leader lands with a flashy impact. Forever busy and bustling, they generate a lot of heat triangulating between splintery improv, riotous patterns, and euphoric swing.
#ECMFirst100 #ECM
