{"title":"ECM","description":"\u003cp data-start=\"177\" data-end=\"836\"\u003eFounded in Germany in 1969 by producer Manfred Eicher, ECM Records (Edition of Contemporary Music) is renowned for its pristine sound quality, striking cover art and genre-defying catalogue. Often described as having a signature “ECM sound,” the label has released landmark recordings by Keith Jarrett, Jan Garbarek, Pat Metheny, Chick Corea, Gary Burton and many more. From spacious jazz improvisations to contemporary classical works, ECM vinyl is highly regarded by audiophiles and collectors alike. Explore our curated selection of ECM Records vinyl — rare pressings, classic reissues and timeless albums that embody the label’s elegance and innovation.\u003c\/p\u003e","products":[{"product_id":"chick-corea-gary-burton-in-concert-z-rich-october-28-1979","title":"Chick Corea and Gary Burton – In Concert, Zürich, October 28, 1979 (1980 ECM 2LP Vinyl)","description":"\u003cp\u003eReleased in 1980 on ECM, \u003cem\u003eIn Concert, Zürich, October 28, 1979\u003c\/em\u003e captures pianist \u003cstrong\u003eChick Corea\u003c\/strong\u003e and vibraphonist \u003cstrong\u003eGary Burton\u003c\/strong\u003e in a dazzling live performance. Building on the chemistry of their earlier collaborations (\u003cem\u003eCrystal Silence\u003c\/em\u003e, \u003cem\u003eDuet\u003c\/em\u003e), this double LP showcases their telepathic interplay and expansive improvisations.\u003c\/p\u003e\n\u003cp\u003eThe concert features extended interpretations of Corea’s and Burton’s compositions alongside jazz standards, moving effortlessly between lyrical ballads, intricate counterpoint, and fiery rhythmic exchanges. Spacious and crystalline in true ECM fashion, the recording highlights the unique textures of piano and vibraphone in perfect balance.\u003c\/p\u003e\n\u003cp\u003eA captivating live document, \u003cem\u003eIn Concert\u003c\/em\u003e is both intimate and virtuosic — essential listening for fans of modern jazz duos and ECM’s signature sound.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42489243697211,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4182.jpg?v=1758759320"},{"product_id":"keith-jarrett-in-the-light","title":"Keith Jarrett – In the Light (1974 ECM 2LP Vinyl)","description":"\u003cp\u003eReleased in 1974 on ECM, \u003cem\u003eIn the Light\u003c\/em\u003e is an ambitious triple album that showcases \u003cstrong\u003eKeith Jarrett’s\u003c\/strong\u003e wide-ranging talents as pianist, composer, and multi-instrumentalist. Far more than a standard jazz record, it blurs the boundaries between jazz, classical, and contemporary composition.\u003c\/p\u003e\n\u003cp\u003eThe set includes everything from solo piano and string quartet pieces to chamber works, percussion explorations, and organ improvisations. It’s a rare glimpse into Jarrett’s restless creativity in the early 1970s, highlighting his ability to move seamlessly between genres while retaining his unique musical voice.\u003c\/p\u003e\n\u003cp\u003eExpansive, adventurous, and uncompromising, \u003cem\u003eIn the Light\u003c\/em\u003e is a landmark in Jarrett’s catalogue and a fascinating deep dive for listeners who want to explore the full scope of his artistry.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42496139001915,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4298.jpg?v=1759147280"},{"product_id":"keith-jarrett-the-koln-concert","title":"Keith Jarrett – The Köln Concert (1975 ECM Japan 2LP Vinyl)","description":"\u003cp\u003eReleased in \u003cstrong\u003e1975\u003c\/strong\u003e by \u003cstrong\u003eECM Records Japan (PA-6053~54)\u003c\/strong\u003e as part of the \u003cem\u003eTrio Jazz Mania\u003c\/em\u003e series, \u003cem\u003eThe Köln Concert\u003c\/em\u003e stands as one of the most iconic solo piano recordings of all time. Captured live on \u003cstrong\u003eJanuary 24, 1975\u003c\/strong\u003e, at the \u003cstrong\u003eOpera House in Cologne\u003c\/strong\u003e, it documents \u003cstrong\u003eKeith Jarrett’s\u003c\/strong\u003e extraordinary ability to conjure entire worlds of melody and rhythm through pure improvisation.\u003c\/p\u003e\n\u003cp\u003eDespite a series of obstacles — a faulty piano, physical exhaustion, and a last-minute scramble to save the performance — Jarrett delivered an inspired, transcendent set that would become a touchstone in modern jazz and beyond. Spanning four movements (\u003cem\u003ePart I\u003c\/em\u003e, \u003cem\u003ePart II A\u003c\/em\u003e, \u003cem\u003ePart II B\u003c\/em\u003e, and \u003cem\u003ePart II C\u003c\/em\u003e), the music flows seamlessly between lyrical reverie, gospel-inspired grooves, and meditative stillness.\u003c\/p\u003e\n\u003cp\u003ePressed in Japan as a \u003cstrong\u003e2-LP gatefold edition\u003c\/strong\u003e, this release was distributed in partnership with \u003cstrong\u003eKenwood Corp.\u003c\/strong\u003e, renowned for its high-fidelity focus. ECM’s crystalline recording, paired with Japan’s superior vinyl quality, makes this pressing one of the most sonically satisfying versions available. The gatefold artwork captures the minimalist aesthetic that defines ECM’s visual identity — elegant, contemplative, and timeless.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Köln Concert\u003c\/em\u003e remains Keith Jarrett’s most celebrated work: a spontaneous masterpiece that continues to move listeners across generations and genres.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42533957173307,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6585.jpg?v=1775888683"},{"product_id":"vijay-iyer-linda-may-han-oh-tyshawn-sorey-compassion-2024-ecm-germany-2lp-vinyl","title":"Vijay Iyer \/ Linda May Han Oh \/ Tyshawn Sorey – Compassion (2024 ECM Germany 2LP, Gatefold)","description":"\u003cp data-start=\"406\" data-end=\"812\"\u003eReleased in \u003cstrong data-start=\"418\" data-end=\"426\"\u003e2024\u003c\/strong\u003e on \u003cstrong data-start=\"430\" data-end=\"456\"\u003eECM Records (ECM 2760)\u003c\/strong\u003e, \u003cem data-start=\"458\" data-end=\"470\"\u003eCompassion\u003c\/em\u003e reunites pianist \u003cstrong data-start=\"488\" data-end=\"502\"\u003eVijay Iyer\u003c\/strong\u003e, bassist \u003cstrong data-start=\"512\" data-end=\"532\"\u003eLinda May Han Oh\u003c\/strong\u003e and drummer \u003cstrong data-start=\"545\" data-end=\"562\"\u003eTyshawn Sorey\u003c\/strong\u003e in a trio that feels as fluid as breath. Recorded under the quiet precision of \u003cstrong data-start=\"642\" data-end=\"660\"\u003eManfred Eicher\u003c\/strong\u003e, the album unfolds like a conversation between three minds tuned to the same frequency, exploring the space where composition and improvisation blur.\u003c\/p\u003e\n\u003cp data-start=\"814\" data-end=\"1358\"\u003eIyer’s playing moves from tenderness to abstraction, every phrase alive with tension and release. Linda May Han Oh anchors the music with lyrical bass lines that sing more than they walk, while Tyshawn Sorey turns rhythm into colour, his touch as attuned to silence as it is to pulse. Tracks such as \u003cem data-start=\"1114\" data-end=\"1120\"\u003eArch\u003c\/em\u003e and \u003cem data-start=\"1125\" data-end=\"1134\"\u003eTempest\u003c\/em\u003e build in slow, glowing arcs, while \u003cem data-start=\"1170\" data-end=\"1181\"\u003eOverjoyed\u003c\/em\u003e and \u003cem data-start=\"1186\" data-end=\"1195\"\u003eIt Goes\u003c\/em\u003e reach moments of deep, open beauty. The trio’s reading of Roscoe Mitchell’s \u003cem data-start=\"1272\" data-end=\"1280\"\u003eNonaah\u003c\/em\u003e pays tribute to avant-garde lineage, reframed through ECM’s glassy clarity.\u003c\/p\u003e\n\u003cp data-start=\"1360\" data-end=\"1740\"\u003eAcross its double-vinyl span, \u003cem data-start=\"1390\" data-end=\"1402\"\u003eCompassion\u003c\/em\u003e captures the group in full command of space and stillness. It’s a record that rewards patience and close listening, where every detail feels intentional yet alive. Pressed in Germany on \u003cstrong data-start=\"1589\" data-end=\"1607\"\u003e180-gram vinyl\u003c\/strong\u003e and housed in an elegant \u003cstrong data-start=\"1633\" data-end=\"1656\"\u003eECM gatefold sleeve\u003c\/strong\u003e, this edition carries the label’s trademark depth of sound and minimalist design.\u003c\/p\u003e\n\u003cp data-start=\"1742\" data-end=\"1892\"\u003eFor collectors of \u003cstrong data-start=\"1760\" data-end=\"1782\"\u003emodern jazz on ECM\u003c\/strong\u003e, \u003cem data-start=\"1784\" data-end=\"1796\"\u003eCompassion\u003c\/em\u003e stands among the label’s most striking recent releases — meditative, daring and deeply human.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42554294108219,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/cover_1000.webp?v=1761354732"},{"product_id":"vijay-iyer-linda-may-han-oh-tyshawn-sorey-uneasy-2021-ecm-germany-2lp-vinyl","title":"Vijay Iyer \/ Linda May Han Oh \/ Tyshawn Sorey – Uneasy (2021 ECM Germany 2LP Vinyl)","description":"\u003cp data-start=\"389\" data-end=\"792\"\u003eReleased in \u003cstrong data-start=\"401\" data-end=\"409\"\u003e2021\u003c\/strong\u003e on \u003cstrong data-start=\"413\" data-end=\"439\"\u003eECM Records (ECM 2692)\u003c\/strong\u003e, \u003cem data-start=\"441\" data-end=\"449\"\u003eUneasy\u003c\/em\u003e marks the first trio recording from \u003cstrong data-start=\"486\" data-end=\"500\"\u003eVijay Iyer\u003c\/strong\u003e, \u003cstrong data-start=\"502\" data-end=\"522\"\u003eLinda May Han Oh\u003c\/strong\u003e and \u003cstrong data-start=\"527\" data-end=\"544\"\u003eTyshawn Sorey\u003c\/strong\u003e, three of the most forward-thinking voices in contemporary jazz. Recorded in December 2019 under the direction of \u003cstrong data-start=\"659\" data-end=\"677\"\u003eManfred Eicher\u003c\/strong\u003e, it’s an album of quiet intensity and elastic interplay, where every note feels both deliberate and instinctive.\u003c\/p\u003e\n\u003cp data-start=\"794\" data-end=\"1145\"\u003eIyer’s piano writing shifts between angular rhythm and open lyricism, while Linda May Han Oh’s bass lines give the music depth and pulse without ever locking it down. Tyshawn Sorey’s drumming moves like weather, constantly in motion but never forced. Together, they create music that feels alert to the world’s chaos and still finds grace within it.\u003c\/p\u003e\n\u003cp data-start=\"1147\" data-end=\"1492\"\u003eThe trio explores a mix of originals and reimagined works: \u003cem data-start=\"1206\" data-end=\"1225\"\u003eChildren of Flint\u003c\/em\u003e and \u003cem data-start=\"1230\" data-end=\"1248\"\u003eCombat Breathing\u003c\/em\u003e are direct in their emotional gravity, \u003cem data-start=\"1288\" data-end=\"1295\"\u003eTouba\u003c\/em\u003e and \u003cem data-start=\"1300\" data-end=\"1316\"\u003eConfigurations\u003c\/em\u003e pulse with complex swing, while \u003cem data-start=\"1349\" data-end=\"1357\"\u003eUneasy\u003c\/em\u003e and \u003cem data-start=\"1362\" data-end=\"1375\"\u003eEntrustment\u003c\/em\u003e carry a meditative calm. Even \u003cem data-start=\"1406\" data-end=\"1421\"\u003eNight and Day\u003c\/em\u003e feels transformed, recast through fractured time and delicate touch.\u003c\/p\u003e\n\u003cp data-start=\"1494\" data-end=\"1803\"\u003ePressed in Germany on \u003cstrong data-start=\"1516\" data-end=\"1541\"\u003edouble 180-gram vinyl\u003c\/strong\u003e, this ECM edition brings the label’s signature clarity and space to the trio’s intricate textures. \u003cem data-start=\"1641\" data-end=\"1649\"\u003eUneasy\u003c\/em\u003e isn’t just a showcase of virtuosity; it’s a statement of empathy and awareness, proof that modern \u003cstrong data-start=\"1748\" data-end=\"1768\"\u003eavant-garde jazz\u003c\/strong\u003e can still sound human and alive.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42554318716987,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/cover_1000_f9765eec-a859-4141-bbc5-eee2a8605115.webp?v=1761356053"},{"product_id":"keith-jarrett-book-of-ways-2lp-vinyl-gatefold","title":"Keith Jarrett - Book Of Ways (2LP Vinyl Gatefold)","description":"\u003cp\u003eA singular achievement in Keith Jarrett's vast discography, \u003cem\u003eBook Of Ways\u003c\/em\u003e presents the legendary pianist exploring the intimate, centuries-old sound of the clavichord through 19 spontaneous improvisations. Released in 1987 on ECM Records and subtitled \"The Feeling Of Strings\", this double album captures Jarrett in his most contemplative and delicate mode, creating music of remarkable beauty and subtlety.\u003c\/p\u003e\n\u003cp\u003eUnlike the piano, the clavichord allows the player to control vibrato and dynamics through touch alone, and Jarrett exploits these possibilities throughout. The 19 pieces, simply numbered rather than titled, flow as a continuous meditation, each improvisation revealing different facets of the instrument's character. Some pieces are brief and introspective, others more developed and complex, but all share an intimacy that feels almost conversational, as if Jarrett is thinking aloud through the strings.\u003c\/p\u003e\n\u003cp\u003eThis is music that rewards close, attentive listening. The clavichord's quiet voice and expressive range create an atmosphere that's both ancient and timeless, drawing on baroque traditions while remaining unmistakably contemporary in its improvisational freedom. Jarrett's melodic gift and harmonic sophistication shine through, even within the instrument's constraints.\u003c\/p\u003e\n\u003cp\u003ePresented in ECM's signature gatefold sleeve with Manfred Eicher's impeccable production, this US pressing captures the clavichord's delicate timbres with stunning clarity. For Jarrett devotees and those interested in the outer reaches of solo improvisation, \u003cem\u003eBook Of Ways\u003c\/em\u003e remains an essential and deeply rewarding listen.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42586046464059,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4580.jpg?v=1761866566"},{"product_id":"keith-jarrett-hymns-spheres-1976-japanese-ecm-2lp-gatefold","title":"Keith Jarrett - Hymns \/ Spheres (1976 Japanese ECM 2LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - Hymns \/ Spheres - Japanese ECM Double Vinyl LP Gatefold Edition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of Keith Jarrett's most daring and spiritually ambitious recordings, \u003cem\u003eHymns \/ Spheres\u003c\/em\u003e presents the legendary pianist performing entirely improvised music on the historic 18th-century Karl Joseph Riepp pipe organ at the Benedictine Abbey in Ottobeuren, Bavaria. Recorded in September 1976 and released the same year as part of Trio Records' Jazz Mania series in Japan, this double album captures Jarrett venturing far beyond conventional jazz into the realm of sacred music, free improvisation, and sonic exploration.\u003c\/p\u003e\n\u003cp\u003eThe Karl Joseph Riepp organ at Ottobeuren is one of the finest Baroque organs in Europe, with nearly 5,000 pipes creating a vast palette of timbres and textures. Jarrett, known primarily as a jazz pianist, approached this monumental instrument with both reverence and adventurous spirit, improvising entirely in the moment without predetermined structures. The result is music that draws from Baroque tradition, modern classical music, jazz sensibility, and Jarrett's own spiritual searching.\u003c\/p\u003e\n\u003cp\u003eThe album is divided into two sections. \"Hymn Of Remembrance\" opens the first disc with a contemplative meditation that establishes the sacred atmosphere. The \"Spheres\" movements, numbered first through ninth, form an extended suite that explores the organ's sonic possibilities across three more LP sides. Jarrett moves between dense, complex passages and moments of austere simplicity, from thundering bass pedal tones to delicate flute stop melodies. The music is alternately majestic and intimate, cosmic and earthbound.\u003c\/p\u003e\n\u003cp\u003e\"Hymn Of Release\" closes the album with a sense of resolution and transcendence, bringing the listener full circle from the opening hymn. Throughout, Jarrett's improvisational gifts translate remarkably to this very different instrument. His harmonic sophistication, melodic invention, and structural sense create music that feels both spontaneous and inevitable.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing, made by Trio-Kenwood Corporation with lacquer cutting by Victor Company of Japan, offers excellent sound quality that captures the organ's massive dynamic range and the Basilica's extraordinary acoustics. The gatefold packaging includes two double-sided inserts: an ECM catalogue insert and a catalogue and liner notes insert with notes by Japanese critic Hisami Noguchi.\u003c\/p\u003e\n\u003cp\u003eThis is an audiophile recording of the highest order.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43028434976827,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5221.jpg?v=1763610595"},{"product_id":"the-art-ensemble-of-chicago-urban-bushmen-1982-japanese-ecm-2lp","title":"The Art Ensemble Of Chicago - Urban Bushmen (1982 Japanese ECM 2LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e None\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Art Ensemble Of Chicago - \u003cem\u003eUrban Bushmen\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eDouble Vinyl LP - 1982 Japanese ECM\/Trio Records Release\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Art Ensemble of Chicago's sprawling double album \u003cem\u003eUrban Bushmen\u003c\/em\u003e captures the legendary free jazz collective at peak form during a May 1980 concert at Amerika Haus in Munich. Recorded by ECM Records and released in Japan in 1982 by Trio Records\/Victor, the album showcases the quintet's unique approach to collective improvisation, incorporating hundreds of instruments from around the world alongside extended techniques on conventional jazz horns. The personnel credits read like an inventory of global percussion and wind instruments: congas, djembes, steel drums, conch shells, balafon, alongside multiple saxophones, clarinets, flutes, and brass. This commitment to sonic exploration, combined with the group's theatrical presentation and political consciousness, made the Art Ensemble one of free jazz's most significant and distinctive voices.\u003c\/p\u003e\n\u003cp\u003eThe compositions range from brief thematic statements to extended collective improvisations. \"Uncle\" stretches across two sides (tracks C3 and D1), demonstrating the group's ability to sustain invention and intensity over long durations. Pieces like \"Bush Magic \/ Urban Magic\" and the \"Promenade: Cote Bamako\" tracks that open and close the album reference African traditions while incorporating American avant-garde jazz innovations. The group's motto \"Ancient to the Future\" is audible throughout, their music simultaneously honouring global musical traditions and pushing toward unexplored sonic territories.\u003c\/p\u003e\n\u003cp\u003eEach member brings distinct strengths: Lester Bowie's trumpet work balances virtuosic technique with theatrical wit, Roscoe Mitchell and Joseph Jarman's multi-instrumental prowess creates shifting timbral landscapes, Malachi Favors' bass provides both harmonic foundation and melodic invention, while Famoudou Don Moye's percussion creates polyrhythmic complexity drawing from African and jazz traditions. Engineered at Tonstudio Bauer and pressed by Victor Company of Japan, this double LP captures the concert's energy and sonic detail across four sides.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43158490087483,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5799.jpg?v=1769137733"},{"product_id":"keith-jarrett-my-song-1984-japanese-ecm-lp","title":"Keith Jarrett - My Song (1984 Japanese ECM LP)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eMy Song\u003c\/em\u003e Vinyl LP - 1984 Japanese ECM Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe second and most celebrated studio album by Jarrett's European Quartet\u003c\/strong\u003e, six Jarrett originals recorded at Talent Studio, Oslo in November 1977\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJan Garbarek's tenor and soprano saxophone\u003c\/strong\u003e as melodic counterpoint to Jarrett's piano, Palle Danielsson on bass and Jon Christensen on drums completing one of ECM's most sympathetic rhythm sections\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1984 Japanese ECM pressing\u003c\/strong\u003e on Polydor K.K.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRecorded at Talent Studio in Oslo on October 31 and November 1, 1977 and released on ECM in June 1978, \u003cem\u003eMy Song\u003c\/em\u003e is the second studio album by Jarrett's European Quartet, the ensemble he had first convened for \u003cem\u003eBelonging\u003c\/em\u003e in 1974. The four musicians, Jarrett on piano, Jan Garbarek on tenor and soprano saxophone, Palle Danielsson on bass and Jon Christensen on drums, had developed a working relationship and a shared musical language in the three years between the two records, and the settled trust between them is audible throughout the six Jarrett originals that make up the album. Where the music on \u003cem\u003eBelonging\u003c\/em\u003e had a quality of discovery, \u003cem\u003eMy Song\u003c\/em\u003e is more assured, the compositions more fully realised and the interplay more fluent. Garbarek's saxophone, here drawing on both the folk-inflected lyricism of his Norwegian background and the post-bop vocabulary he had developed through his own recordings, provides melodic counterpoint to Jarrett's piano rather than competing with it, the two instruments moving in and out of the foreground across tracks that range from the opening \"Questar\" through to the closing \"The Journey Home\", which passes through several distinct moods in its ten minutes. Jarrett occasionally plucks the strings inside the piano for added percussion, and Danielsson is given room for extended bass solos that hold their own as compositional statements. Engineered by Jan Erik Kongshaug, who was responsible for the sonic character of ECM's studio recordings throughout this period, and produced by Manfred Eicher, the album reached No. 17 on the Billboard jazz chart on its original release.\u003c\/p\u003e\n\u003cp\u003eReleased in Japan in January 1984 on ECM Records (25MJ 3304) and manufactured by Polydor K.K., this pressing presents the album in the label's characteristic spare design. The combination of Kongshaug's engineering and ECM's insistence on acoustic, unprocessed sound makes this one of the more demanding tests for a well-set-up system, the piano, saxophone, bass and drums spread across the stereo field with a clarity and separation that rewards careful listening. For collectors building an ECM section, \u003cem\u003eMy Song\u003c\/em\u003e sits alongside \u003cem\u003eBelonging\u003c\/em\u003e as the essential document of Jarrett's European Quartet.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43245874970683,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6256.jpg?v=1772273638"},{"product_id":"keith-jarrett-the-koln-concert-1983-japanese-ecm-2lp-gatefold","title":"Keith Jarrett - The Köln Concert (1983 Japanese ECM 2LP Gatefold)","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eA note on this pressing\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhite ECM sleeves from this era are notorious for picking up toning and discolouration over time. It's the nature of the matte cardboard stock rather than evidence of rough handling. Completely clean examples are genuinely rare. The sleeve here shows the typical age-patina of the format and has been graded accordingly.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Köln Concert is also worth approaching with a well-maintained setup. As one of the most intimate and dynamically quiet recordings in jazz - solo piano in a near-silent room - it will reveal surface noise that would be completely buried on a busier record. That's not a reflection of the vinyl's condition so much as the nature of the recording itself. If your stylus and cartridge are in good shape, this record will sing.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eThe Köln Concert\u003c\/em\u003e | 2 x Vinyl LP - 1983 Japanese ECM Gatefold (38MJ 3297\/8, Polydor K.K.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eKeith Jarrett's complete solo improvisation\u003c\/strong\u003e recorded live at the Cologne Opera House on 24 January 1975; the best-selling solo piano album and best-selling solo jazz album of all time.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAll four parts of the concert across four sides\u003c\/strong\u003e — the full concert as originally sequenced on vinyl\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1983 Japanese ECM pressing\u003c\/strong\u003e manufactured by Polydor K.K., gatefold\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eOn the evening of 24 January 1975, Keith Jarrett walked on stage at the Cologne Opera House and improvised for approximately 66 minutes. The concert had been organised by Vera Brandes, at 18 years old Germany's youngest concert promoter. She had sold out the house — around 1,400 people — and rented the opera venue for the first time it had been used for a jazz performance, underwritten by a loan from her mother. Jarrett had driven from Zurich to Cologne in Manfred Eicher's Renault 4 rather than fly, arriving late and tired. He had not slept properly in days. His back pain required a brace. The piano on stage was not the Bösendorfer Imperial 290 he had specified but a smaller rehearsal instrument that had not been tuned and whose pedals stuck. After playing a few notes and demanding a replacement that could not be found, Jarrett was ready to leave. Brandes persuaded him to stay. ECM engineer Martin Wieland had set up two Neumann U 67 microphones and a Telefunken M-5 tape machine to capture the performance.\u003c\/p\u003e\n\u003cp\u003eWhat Jarrett played that night worked in part because of the piano's limitations rather than despite them. Unable to rely on the bass and upper registers, he built the performance on the middle register and on \u003cem\u003eostinato\u003c\/em\u003e left-hand patterns — according to Eicher, the instrument's shortcomings drove Jarrett toward a different approach than he might otherwise have taken. Part I runs for around 26 minutes and develops from a single vamp through increasingly elaborate melodic excursions. Part II was divided for the vinyl format into three sections: IIa, IIb and IIc, the last of which draws on Jarrett's earlier composition \"Memories of Tomorrow.\" The whole concert is present across the four sides of this double album. The record was released on ECM in November 1975 and sold in quantities no one at the label had anticipated; it remains the best-selling solo piano recording and the best-selling solo jazz album ever made. This 1983 Japanese pressing is manufactured by Polydor K.K. in a gatefold sleeve.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43279735259195,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6366.jpg?v=1773449995"},{"product_id":"paul-bley-open-to-love-1973-original-german-ecm-lp-ecm-1023-pallas","title":"Paul Bley - Open, To Love (1973 Original German ECM LP, ECM 1023, Pallas)","description":"\u003cp\u003e\u003cstrong\u003ePaul Bley - \u003cem\u003eOpen, To Love\u003c\/em\u003e | Vinyl LP - 1973 Original German ECM First Pressing (ECM 1023 ST, Pallas)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePaul Bley's solo piano masterwork for ECM\u003c\/strong\u003e, recorded 1972 and produced by Manfred Eicher; the third solo piano album in ECM's catalogue, after Chick Corea's \u003cem\u003ePiano Improvisations\u003c\/em\u003e and Keith Jarrett's \u003cem\u003eFacing You\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOne of the most influential solo piano recordings in jazz history\u003c\/strong\u003e, and certainly one that defined the sound of the German label ECM\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal first German pressing\u003c\/strong\u003e, lacquer cut and pressed at Schallplattenfabrik Pallas GmbH; ECM 1023 ST\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003ePaul Bley recorded \u003cem\u003eOpen, To Love\u003c\/em\u003e on 11 September 1972 at Arne Bendiksen Studio in Oslo, under Manfred Eicher's production. He was 39 and had been a significant figure in jazz since the mid-1950s — he had run the Hillcrest Club in Los Angeles where Ornette Coleman first performed with a piano rhythm section, led early recordings for EmArcy and Savoy, and worked with Charles Mingus. By 1972 he had arrived at a point of maximum economy: minimal notes, extended silence, the sustain pedal used to let overtones breathe and decay. Seven tracks are the whole album. Five of them were written by Carla Bley and Annette Peacock — the two composers who had also been his partners. Carla's \"Ida Lupino,\" named for the British-born Hollywood actress and film director, is the album's centrepiece: seven and a half minutes of lyrical improvisation that remains among the most beautiful performances in Bley's discography. Her \"Closer\" opens the record and \"Seven\" closes Side B. Peacock's title track and \"Nothing Ever Was, Anyway\" flank the two Bley originals on the second side.\u003c\/p\u003e\n\u003cp\u003eBley's own \"Started\" and \"Harlem\" are contrafacts — compositions that work from and against earlier jazz material, dismantling familiar harmonic structures until they become something new. \"Started\" draws on the chord sequence of \"I Can't Get Started\"; both pieces are described by ECM as \"unspooling and reconfiguring jazz standards.\" This is the third solo piano album ECM released, after Chick Corea's \u003cem\u003ePiano Improvisations\u003c\/em\u003e and Keith Jarrett's \u003cem\u003eFacing You\u003c\/em\u003e. All three were produced by Eicher, all three recorded in the same period, and the three together constitute a founding document of ECM's aesthetic approach to solo piano. This is the original first German pressing, lacquer cut and pressed at Schallplattenfabrik Pallas GmbH.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43283564560443,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6396.jpg?v=1773530427"},{"product_id":"keith-jarrett-facing-you-1972-german-ecm-original-lp","title":"Keith Jarrett - Facing You (1972 German ECM Original LP)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eFacing You\u003c\/em\u003e | Vinyl LP - 1972 German ECM Original (ECM 1017 ST, Schallplattenfabrik Pallas GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKeith Jarrett had recorded for Atlantic and Columbia before Manfred Eicher signed him to ECM in 1971. The label was barely two years old. Eicher booked the Arne Bendiksen Studio in Oslo and placed Jarrett at a piano alone with Jan Erik Kongshaug engineering. The result was eight pieces, no overdubs, no editing, no interruption. Everything on the record is the first and only take.\u003c\/p\u003e\n\u003cp\u003eThe title refers to the confrontation between performer and instrument in the absence of an ensemble. No rhythm section to lean on, no other voice to respond to, only the piano and what Jarrett could bring to it. The pieces move through different registers without announcing the transitions. \"In Front\" opens with a melodic figure and develops it through harmonic variations that never quite return to where they started. \"Ritooria\" is slower, Jarrett holding individual notes longer and letting the sustain define the space. \"Lalene\" is the most openly bluesy piece on Side A. Side B opens with \"My Lady; My Child,\" written for his wife and son, more lyrical and less exploratory than the other pieces and melody dominant. \"Landscape for Future Earth,\" \"Starbright\" and \"Vapallia\" move progressively outward. \"Semblence\" closes the record quietly.\u003c\/p\u003e\n\u003cp\u003eEicher and Kongshaug captured the piano's full acoustic range, close and immediate. The ECM sound at this early stage in the label's history was still being defined, and this album was part of that definition. Original German pressing, pressed at Pallas, in a laminated sleeve.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43518541791291,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7005.jpg?v=1778982958"},{"product_id":"keith-jarrett-arbour-zena-1976-japanese-ecm-trio-records-stereo-lp","title":"Keith Jarrett - Arbour Zena (1976 Japanese ECM \/ Trio Records Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eArbour Zena\u003c\/em\u003e | Vinyl LP - 1976 Japanese ECM \/ Trio Records Original Pressing (ECM-1-1070 \/ PAP-9045)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy October 1975 Keith Jarrett had just released \u003cem\u003eThe Köln Concert\u003c\/em\u003e and was at the height of his solo improvising powers, but the work he brought to Tonstudio Bauer was something else entirely: through-composed, scored for strings, dedicated to specific people and ideas. \u003cem\u003eArbour Zena\u003c\/em\u003e is one of his earliest sustained attempts to fold the orchestral language he had been developing on the previous year's \u003cem\u003eLuminessence\u003c\/em\u003e into the small-group improvising he was doing with his two regular quartets. The result sits closer to ECM's emerging chamber-music sensibility than to anything in the American jazz mainstream of the moment, and Jarrett himself has consistently rated it among his most lyrical and inspired works. Garbarek's tenor and soprano lines move through and around the string parts rather than over them. Haden's bass holds the centre. The Stuttgart strings, conducted by Mladen Gutesha (the Yugoslav-born conductor who had also led the \u003cem\u003eLuminessence\u003c\/em\u003e sessions), do the work that an orchestral string section is rarely asked to do in a jazz context - they listen, leave space, and respond.\u003c\/p\u003e\n\u003cp\u003eThe Japanese ECM licence sat with Trio Records from the early 1970s through 1979, after which the catalogue moved to JVC. Trio's pressing standards across the Jarrett, Garbarek, Burton and Towner ECM titles are uniformly strong, and this \u003cem\u003eArbour Zena\u003c\/em\u003e was issued contemporaneously with the German Eicher original in 1976 rather than as a later reissue. The Japanese audience took to ECM earlier and more comprehensively than almost any other market outside Europe, which is why the Trio-era pressings circulate in cleaner condition than many of their European counterparts forty-five years later. This is the 1976 Japanese ECM \/ Trio Records original pressing.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43541296480315,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7082.jpg?v=1779538545"},{"product_id":"jan-garbarek-keith-jarrett-palle-danielsson-jon-christensen-belonging-1974-ecm-vinyl-lp","title":"Jan Garbarek \/ Keith Jarrett \/ Palle Danielsson \/ Jon Christensen - Belonging (1974 ECM Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJan Garbarek \/ Keith Jarrett \/ Palle Danielsson \/ Jon Christensen - \u003cem\u003eBelonging\u003c\/em\u003e | Vinyl LP - 1974 Japanese ECM\/Trio Records (PAP-9011)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKeith Jarrett had been running two parallel careers since the early 1970s: an American trio and solo practice alongside an entirely different quartet with European musicians. He had first noticed Jan Garbarek while touring Europe with Charles Lloyd's group; Garbarek was in George Russell's band. Palle Danielsson and Jon Christensen were the rhythm section of the Garbarek-Bobo Stenson Quartet, whose \u003cem\u003eWitchi-Tai-To\u003c\/em\u003e had been recorded five months before \u003cem\u003eBelonging\u003c\/em\u003e. Jarrett knew exactly what he was assembling.\u003c\/p\u003e\n\u003cp\u003eHe wrote all six pieces specifically for these four musicians. The structure alternates: a fast piece, then a ballad, then a fast piece on Side A; a short ballad, then a fast piece, then a long ballad on Side B. \"Spiral Dance\" opens with Garbarek's tenor over Christensen's ride cymbal, the band at full tempo from the first bar. \"Blossom\" stretches to twelve minutes, Jarrett's piano sustaining long melodic lines while Garbarek enters on soprano saxophone with a tone closer to a folk instrument than a jazz horn. \"'Long As You Know You're Living Yours\" closes Side A with the kind of propulsive energy that rarely appeared on ECM recordings in 1974.\u003c\/p\u003e\n\u003cp\u003e\"Belonging,\" the title track, is the album's shortest piece at just over two minutes. It functions as a threshold between the two sides rather than a standalone composition. \"The Windup\" is the hardest-swinging piece Jarrett recorded for ECM, Danielsson's bass walking hard, Christensen driving from underneath. \"Solstice\" closes the album at thirteen minutes. Garbarek's opening soprano note is slightly off pitch, deliberately so, and the piece unfolds from that intentional tension.\u003c\/p\u003e\n\u003cp\u003eManfred Eicher produced. Jarrett insisted on first takes throughout, and the sense of spontaneity that carries the record is not an illusion. This is the 1974 Japanese Trio Records pressing (PAP-9011).\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43655653392443,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7296.jpg?v=1781489131"},{"product_id":"pat-metheny-lyle-mays-as-falls-wichita-so-falls-wichita-falls-1984-japanese-ecm-vinyl-lp","title":"Pat Metheny \u0026 Lyle Mays - As Falls Wichita, So Falls Wichita Falls (1984 Japanese ECM Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003ePat Metheny \u0026amp; Lyle Mays - \u003cem\u003eAs Falls Wichita, So Falls Wichita Falls\u003c\/em\u003e | Vinyl LP - 1984 Japanese ECM Records Reissue (25MJ 3335, Polydor K.K.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe title track takes up all of side A and starts with what sounds like a recording made in a crowd. Voices, ambient noise, Vasconcelos chanting over the top. From there, Lyle Mays brings in slow-building synthesiser washes (he was working with an Oberheim Four Voice and Prophet at the time) while Metheny layers acoustic and electric guitar lines over the top, sometimes playing bass too. The piece shifts through distinct sections over its 20 minutes, moving from ambient drift to a shimmering autoharp-driven passage that lands somewhere between impressionism and something closer to minimalism. Side B covers different ground entirely. \"Ozark\" is compact and melodic. \"September Fifteenth,\" dedicated to Bill Evans, opens with Metheny's acoustic guitar inside Mays's synth pads before Mays switches to piano for a passage of quiet interplay that echoes the intimacy Evans spent his career refining. \"It's For You\" builds from sparse to full-band intensity. \"Estupenda Graça\" closes the album in under three minutes, a nod to Vasconcelos's Brazilian roots.\u003c\/p\u003e\n\u003cp\u003eMetheny and Mays had rehearsed the album extensively before flying to Oslo, working out structures that left room for improvisation and multi-track overdubbing within planned frameworks. The result is more composed than it might first sound, and the studio plays a bigger role than on most ECM dates. This is the 1984 Japanese reissue on ECM Records, catalogue number 25MJ 3335, part of the ECM Collection 50 series manufactured by Polydor K.K.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43656391557179,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7312.jpg?v=1781524919"},{"product_id":"ralph-towner-diary-1974-japanese-ecm-vinyl-lp","title":"Ralph Towner - Diary (1974 Japanese ECM Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eRalph Towner - \u003cem\u003eDiary\u003c\/em\u003e | Vinyl LP - 1974 Japanese ECM Records (PA-7090, Trio Electronics)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOnly two of these eight tracks are unaccompanied guitar solos. \"Entry In A Diary\" and \"Mon Enfant\" (the one traditional piece, arranged for classical guitar) are played without overdubs, and they're the most intimate moments on the album. Everything else uses layering. \"Dark Spirit\" opens with Towner's 12-string guitar over his own piano accompaniment, the two instruments occupying different halves of the stereo field. \"Images Unseen\" replaces the piano with gongs, creating a sound closer to gamelan than anything in jazz. \"Icarus,\" the piece that has followed Towner through his entire career (two lunar craters were named after it and \"Ghost Beads\" by the Apollo 15 astronauts), works as a 12-string and piano duo, building from a simple melodic figure into a passage of plucked harmonics against clusters of piano notes that sounds like two musicians playing at the same time rather than one man overdubbing. \"Ogden Road\" is the longest track at nearly eight minutes and uses the same guitar-piano format to stretch further. \"Erg\" turns the guitar into a percussion instrument, with Towner playing the body and strings rhythmically rather than melodically. \"The Silence Of A Candle\" closes the album with solo piano, no guitar at all.\u003c\/p\u003e\n\u003cp\u003eTowner recorded this in April 1973 at ECM's studio, with Kurt Rapp and Martin Wieland engineering and Manfred Eicher producing. He had studied classical guitar in Vienna with Karl Scheit and was already recording with Oregon (whose \u003cem\u003eWinter Light\u003c\/em\u003e you'll also find in our catalogue), but \u003cem\u003eDiary\u003c\/em\u003e was the first time he had an album entirely to himself. ECM's own description cites Bill Evans as the primary jazz influence, alongside classical and Brazilian music. The overdubbing technique draws a comparison to Evans's \u003cem\u003eConversations With Myself\u003c\/em\u003e, though the instruments and aesthetic are completely different. This is the 1974 Japanese pressing on ECM PA-7090, from the Trio Jazz Mania series, manufactured by Trio Electronics, Inc., released the same year as the original German edition.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43691756945467,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7447.jpg?v=1782100660"},{"product_id":"keith-jarrett-the-survivors-suite-1977-us-ecm-vinyl-lp","title":"Keith Jarrett - The Survivors' Suite (1977 US ECM Vinyl LP)","description":"\u003cp\u003e\u003cb\u003eVinyl\u003c\/b\u003e:\u003cspan\u003e \u003c\/span\u003eVG+\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e:\u003cspan\u003e \u003c\/span\u003eVG+\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOur grading system explained \u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/a\u003e.\u003cbr\u003ePhoto is of the actual item.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eThe Survivors' Suite\u003c\/em\u003e | Vinyl LP - 1977 US ECM Records Original (ECM 1-1085, Wakefield Pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJarrett revealed in a 2009 interview that the suite was written for a specific room. The quartet had a concert booked at Avery Fisher Hall in New York, opposite Monk as part of the festival, and Jarrett knew from playing there repeatedly that the sound onstage blurred at fast tempos. He composed the music for that acoustic, writing for the space itself, and the piece became something the group played and refined from that first performance onward. By the time they recorded it in Ludwigsburg, the suite had been absorbed into the quartet's language. \"Beginning\" fills side A with 27 minutes that open on a tentative, almost hesitant piano passage before Redman's tenor enters and the group builds into the first of several collective improvisations. Jarrett switches between piano, soprano saxophone, bass recorder and celeste across the side, and each instrument change shifts the texture of the ensemble. Haden and Motian adjust underneath without signalling. The transitions between written sections and free passages are seamless enough that it's not always clear where composition ends and improvisation begins.\u003c\/p\u003e\n\u003cp\u003e\"Conclusion\" on side B runs 21 minutes and brings the suite to its most intense passage. The group had been together since 1971, growing from Jarrett's earlier trio with Haden and Motian (which predated the quartet by four years, and which had first recorded as a studio unit with Redman on \u003cem\u003eExpectations\u003c\/em\u003e in 1972). The quartet dissolved in late 1976 after this recording.\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 US original pressing on ECM 1-1085, plated and pressed at Wakefield Manufacturing.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43697751228475,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7477.jpg?v=1782187038"},{"product_id":"eberhard-weber-the-colours-of-chloe-1974-japanese-ecm-vinyl-lp","title":"Eberhard Weber - The Colours Of Chloë (1974 Japanese ECM Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eEberhard Weber - \u003cem\u003eThe Colours Of Chloë\u003c\/em\u003e | Vinyl LP - 1974 Japanese ECM Records (PAP-9004, Trio Records)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWeber had spent years as a sideman before this. What he brought to his own record was a bass sound nobody else had: a custom-built instrument with an extended upper register and a long, singing sustain that let the bass function as a lead voice rather than a foundation. That sound is the spine of the album, but it is the company he keeps that makes the record what it is. The cellos of the Südfunk Symphony Orchestra Stuttgart arrive in unison blocks that have nothing to do with conventional string sweetening, sitting somewhere closer to chamber writing than to jazz arrangement. Rainer Brüninghaus, an old friend, plays acoustic piano with real clarity and then layers electric pianos and synthesiser into rotating, repetitive figures that were unlike anything on a jazz record in 1973. Ack van Rooyen's flugelhorn keeps the melodic material warm. Peter Giger and Ralf Hübner handle the percussion, Hübner appearing only on the title track. The result is symphonic jazz, picturesque and romantic in places, minimal and harmonically abstruse in others.\u003c\/p\u003e\n\u003cp\u003e\"More Colours\" opens the album and the title track follows, both anchored by the interplay between Weber's bass and the cello section. \"An Evening With Vincent Van Ritz\" closes side A. Then \"No Motion Picture\" takes the whole of side B, nineteen and a half minutes built on Brüninghaus's whirling multi-tracked keyboards with Weber's ocarina carrying much of the melodic weight, an instrument choice that should not work in this context and does. All four compositions are Weber's.\u003c\/p\u003e\n\u003cp\u003eThis is the Japanese pressing on ECM PAP-9004, manufactured by Trio Records, on a laminated sleeve.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43819868651579,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7815.jpg?v=1784500635"},{"product_id":"dave-liebman-lookout-farm-1974-japanese-ecm-vinyl-lp","title":"Dave Liebman - Lookout Farm (1974 Japanese ECM Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eDave Liebman - \u003cem\u003eLookout Farm\u003c\/em\u003e | Vinyl LP - 1974 Japanese ECM Records (PA-7096, Trio Jazz Mania, Trio Electronics)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLiebman had spent 1972 and 1973 inside Miles Davis's electric groups, playing soprano saxophone across most of side one of \u003cem\u003eOn the Corner\u003c\/em\u003e and continuing on through \u003cem\u003eBig Fun\u003c\/em\u003e and \u003cem\u003eGet Up with It\u003c\/em\u003e. Lookout Farm was the band he formed on his own account, and this record documents it at the outset. The name of the closing piece, \"M.D.,\" is not coded: Liebman explained in his liner notes that it was written for Miles, that \"Pablo's Story\" was for Picasso, and that Lookout Farm itself was a place where he had met a friend. What is striking is how much of the Davis vocabulary is here without the record sounding derivative. Don Alias and Badal Roy had both played on \u003cem\u003eOn the Corner\u003c\/em\u003e and both turn up again, and the percussion section running underneath these three pieces gives the album a density and a rhythmic layering that has more to do with Davis's electric period than with anything else ECM was releasing in 1974. \"Pablo's Story\" fills most of side A across fourteen minutes, opening on Abercrombie's flamenco-inflected arpeggios before Liebman enters on alto flute, and it moves through Latin figures into freer territory as the percussion accumulates.\u003c\/p\u003e\n\u003cp\u003e\"Sam's Float\" is shorter and harder, with Abercrombie switching to electric guitar and Liebman on flute. Then the whole of side B is given to \"M.D.\" running into \"Lookout Farm,\" twenty-four minutes that give Beirach his most substantial playing on the record and let the rhythm section and the percussionists stretch out at length. Beirach and Liebman would go on working together for decades, and the partnership starts to make sense here. The album sits oddly in the ECM catalogue and that is part of its appeal: it is percussive, electric and hot where the label was already becoming known for space and cool, and it has been rather overlooked as a result.\u003c\/p\u003e\n\u003cp\u003eThis is the Japanese pressing on ECM PA-7096, from the Trio Jazz Mania series, manufactured by Trio Electronics, Inc.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43855724773435,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7856.jpg?v=1784854650"},{"product_id":"gary-burton-chick-corea-crystal-silence-1980-japanese-ecm-vinyl-lp","title":"Gary Burton \u0026 Chick Corea - Crystal Silence (1980 Japanese ECM Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eGary Burton \u0026amp; Chick Corea - \u003cem\u003eCrystal Silence\u003c\/em\u003e | Vinyl LP - 1980 Japanese ECM Reissue (PAP-9247, Trio Kenwood Corporation)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCorea and Burton met properly at a 1972 festival in Munich, thrown together at a late-night session where they turned out to be the only two players left. Piano and vibraphone are both chordal instruments, and the pair had circled each other before without quite finding the fit. This time it clicked straight away, and Manfred Eicher heard enough to book studio time. They cut the whole album in one day, 6 November 1972, at the Arne Bendiksen Studio in Oslo, with Jan Erik Kongshaug at the desk. The result is chamber jazz in the truest sense: two instruments, no rhythm section, everything resting on how closely the two listen to each other. Corea supplies five originals, among them the sprinting Señor Mouse and the hushed title track. Steve Swallow contributes three tunes and Mike Gibbs one. Nobody expected much of it. It went on to become one of ECM's best-loved records.\u003c\/p\u003e\n\u003cp\u003eThis is the Japanese pressing Trio put out in 1980. Trio Records, part of Trio Kenwood Corporation, handled ECM's catalogue in Japan through the seventies and eighties, and copies from this period are well regarded for their pressing quality. That matters on a record this intimate. Crystal Silence lives in its soft passages, the long decay of Burton's mallets and the space Corea leaves around a phrase, and a clean, quiet pressing lets all of it through. This copy carries the OBI strip and the printed insert with Japanese notes and an ECM discography, both of which tend to go missing over forty-odd years. The music is the same session that runs as the original ECM 1024, mastered and pressed in Japan. This is the 1980 Japanese pressing on Trio Records, catalogue PAP-9247, OBI and insert intact.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43861937258555,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7910.jpg?v=1784950582"}],"url":"https:\/\/lushliferecords.com.au\/collections\/ecm.oembed?page=2","provider":"Lush Life Records","version":"1.0","type":"link"}