Originally posted by Joseph K
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This is exactly my impression when I was given a LP version of this album as a present. It was castigated by the time Miles had got a number of albums under his belt by the mid-1980s as lacking the finesse of his later work. There was always a perception that Miles was a bit rusty on this album but I would argue that it is probably one of the last times on record that he was actually going for it and not posing.
Working from home today, I have been playing some ECM albums included Tomasz Stanko's "Suspended Night" which is a very low-key album which struck me as a little disappointing , especially as it followed on from a number of exceptional albums. Listening again on it's own merits, I think it really swings but at some incredibly slow tempi. It almost feels like classic Bill Evans trio in it's range of dynamics. Less impressive is Ketil Bjornstad's "Water Stories" which, despite the appearance of Terje Rypdal, never actually goes anywhere. This disc marked a point for me when I started to think that ECM were not always reliable and where the idea of music with considered contemplation can come across as a bit pointless if the music is not really "happening." For me, the music is almost cosmetic on this disc with the tracks all sounding remarkably similar and almost becoming aural wall paper.
I also manged to find my copy of Keith Jarrett's "Dark Intervals" which, in it's way, is inaccessible and forms an uneasy bridge between improvised music and Classical. The sound of the piano is captured extremely well in the recording It is difficult to describe this record as being "avant garde" as the music sometimes has a hymnal quality about it yet I think Jarrett deserves credit for releasing so many live recordings which effectively expose his works to some of the darker elements which make this record somewhat impenetrable.
Peter Erskine trio with John Taylor on piano up next.....
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