Tord Gustavsen Trio / The Ground 如果说Tord Gustavsen Trio的首张专辑《Changing Places》是CD柜上一张不能缺少的Piano演奏专辑，那么《The Ground》则是一张能令你於酷暑中泰然於林荫里的优雅舒适小品。 1970年出生於挪威奥斯陆(Oslo)，成长於Akershus地区的乡野小镇Hurdal，Tord Gustavsen仍是Scandinavian Jazz风潮中备受期待的新一代挪威音乐家兼演奏家。Tord Gustavsen是个沉默的钢琴手，宽阔的琴音与柔软的指上功夫，在仔细听过他的演奏后很容易留下深刻的印象。 而Tord Gustavsen Trio则是Tord Gustavsen连同大提琴家Harald Johnsen以及Supersilent的鼓手Jarle Vespestad所组成的三重奏。首张作品《Changing Places》甫一推出便被BBC Music Magazine 6月号选为主要推荐专辑，并获得Stereophile杂誌满分的荣耀。《Changing Places》以一种超乎常理的温和及抒情曲式，透过Tord Gustavsen指尖所流泄的丰沛情绪，引令每位听者进入北方冰冷音乐质地的核心，显然听著Tord Gustavsen的琴音是不会令你被严寒的气候给冻著。其他两位团员Harald Johnsen曾经担任过Bjorn Johansen、Sigurd Kohn、Christian Reim以及Jan Erik Kongshaug等人的伴奏，并於Silje Nergaard该乐队的现场演出中担纲伴奏、并发行成专辑唱片，被挪威的媒体称誉为新一代的酷派爵士乐手。而Jarle Vespestad这位杂务繁多的鼓手则是来自我们熟知的Supersilent乐队，只是在Tord Gustavsen Trio里Jarle Vespestad全然脱去Supersilent时期的实验打击声浪，而投以犹如蜻蜓点水般的鼓点，为Tord Gustavsen的琴音蒙上一丝神秘的色调。(感谢X007)

Eleni Karaindrou (Greek: Ελένη Καραΐνδρου) is a Greek composer, born in the village of Teichio (Tichio) in Phocis, Central Greece, on November 25, 1941. She is best known for scoring the films of the Greek director Theo Angelopoulos

Stunning new album from Italian jazz pianist Giovanni Guidi! Giovanni Guidi is one of the most consistently creative pianists in Europe today, focussing inspirations from contemporary jazz and free playing in a strongly lyrical approach of his own. As well as composing his own material, he has a discerning ear for pieces his group might adapt. The new album begins with an extraordinary interpretation of a yearning song of love and loss by the Monaco-born poet-composer-chansonnier Léo Ferré (1916-1993). The melody and atmosphere of Ferré's "Avec Le Temps," one of the classics of the French chanson repertoire, are explored in new detail by Guidi and bassist Thomas Morgan. Avec le temps also initiates some new departures as Guidi expands his group to quintet size with the addition of saxophonist Francesco Bearzatti and guitarist Roberto Cecchetto for six of the pieces here.

《Jasmine》是Keith Jarrett和伟大的贝司手Charlie Haden再度联手合作的最新作品，它标志着三十多年来Keith Jarrett和他曾经的标准三重奏之间又开始了首次录音合作，70年中期前他们一直是紧密合作的搭档。亲密、自然和温暖，这张表现爱情的歌曲专辑在Jarrett的家里录制，以他们的自然、率直，说明了他们的亲密关系。《Jasmine》专辑里的节目包含非常经典的歌曲如'Body and Soul', 'For All We Know' , 'Where Can I Go Without You', 'Don't Ever Leave Me'等，还覆盖了一首现代的流行歌曲“One Day I'll Fly Away”，这对于Keith Jarrett来说很少见。Jarrett和Haden弹奏音乐非常忘情和投入，除了音乐其他毫无干扰——也只有他们俩能做到这样！

Jan Garbarek is a Norwegian jazz saxophonist, who is also active in classical music and world music. Garbarek was born in Mysen, Norway, the only child of a former Polish prisoner of war, Czesław Garbarek, and a Norwegian farmer's daughter.

Beethoven’s Diabelli Variations are considered a magnum opus of the piano repertoire, a towering contribution to the genre and an entire encyclopaedia of pianism. Following his monumental exploration of the 32 Sonatas, András Schiff has recorded - on two period instruments - remarkable, contrasting versions of the Diabelli Variations alongside major late works with intrinsic ties to them. The Sonata Op. 111 and the Diabelli Variations (CD 1) are played on an original Bechstein grand from 1921, and the second reading of the Diabelli Variations (paired with the Six Bagatelles, Op. 126 on CD 2) on a Hammerflügel fortepiano from Beethoven’s own day. This gives listeners a unique opportunity to compare the rich range of these highly contrasting sonic universes, a world apart from modern day instruments. The first is a studio recording from Lugano in December 2012, while the fortepiano version was recorded at the Beethoven-Haus in Bonn in July of the same year. In his liner note András Schiff acknowledges the value of having been able to consult the previously unknown original manuscript of the Variations which provided invaluable insight into Beethoven’s compositional process - with his penmanship and writing speed offering subtle hints as to crescendos, tempos and arcs of tension - and intentions.

Vijay Iyer and Craig Taborn, two of creative music's most resourceful players, learned to meld and mesh their artistic approaches inside Roscoe Mitchell's Note Factory ensemble (as documented on Mitchell's 2007 recording Far Side). Since then, Iyer and Taborn have continued to play concerts together. The Transitory Poems, recorded live at the Franz Liszt Academy, Budapest in March 2018, is their first duo album. A marvel of shared invention, it incorporates pieces offered as tributes to formative influences including pianists Cecil Taylor, Muhal Richard Abrams and Geri Allen, and the painter and sculptor Jack Whitten.

这张专辑是一张东西方文化交流的作品，原文意思拉伽RAGA，指的是印度/巴基斯坦音乐中的（调式），SAGA，则是北欧的区的（传奇）之意。

For more than four years, fans have been waiting for a new Bach recording from the extraordinary Austrian pianist Till Fellner. His interpretation of the first book of the Well-tempered piano for ECM was released in 2004 to great critical acclaim. “The articulation and the shaping of line are always clean, with meticulous but subtle attention given to the underlining of fugue subjects. There is just the right amount of flexibility in his shaping of phrase, and the sheer beauty of his sound helps lend the cerebral an enticing touch of the sensual”, wrote Stephen Pettitt in the Evening Standard. With the two-part Inventions and three-part Sinfonias Fellner now illuminates the magic of Bach’s allegedly just didactic piano pieces from 1722/23, in which he offered a method of polyphonic playing and composing. Interspersed is a vividly swinging account of Bach’s fifth French Suite in G-major.

Eberhard Weber (born January 22nd, 1940 in Stuttgart, Germany) is a double bassist and composer. As a bass player, Weber is known for his highly distinctive tone and phrasing. Weber's compositions blend chamber jazz, European classical music, minimalism and ambient music, and are regarded as characteristic examples of the ECM Records sound.

Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.

尽管是一个问题乐器，和一首问题音乐，卡许卡湘（K. Kashknashian）将巴尔托克的中提琴协奏曲拉得淋漓尽致。 巴尔托克的中提琴协奏曲乃他的天鹅之歌，巴尔托克只完成初步草稿就去世了，他死后两年才由遗族委託其弟子谢尔利整理完成。谢尔利为了要符合巴尔托克原意可真是呕心沥血，但因为草稿写的杂乱无章难以判读，这首后人补写之作还是被视为问题音乐。尽管如此，此曲充满巴尔托克冕期的圆熟乐念，而且由于音域高不成低不就的中提琴缺乏杰作，此曲在中提琴协奏曲的地位仍无人能及。 CD中还收录另外两首同为匈牙利作曲家的曲子，分别是艾奥佛斯（PeterEotvos）为中提琴与管絃乐团的《复制》，以及柯泰格（Gyorgy Kurtag）的为中提琴与管絃乐团的乐章，它们都是对应巴尔托克的中提琴协奏曲之作。艾奥佛斯的《复制》甚至是一九九七年才出炉的新作，而且是为卡许卡湘量身订製的，可见得卡许卡湘这位亚美尼亚中提琴家的地位了。我不敢说她拉这些现代作品有多好多好，因为我也不是完全理解这些音乐，不过卡许卡湘的演奏在细腻中带有活力，是我非常肯定的。她与艾奥佛斯亲自指挥荷兰广播室内乐团的诠释，使得这些现代音乐变得很容易聆赏。 卡谢卡香 Kim Kashkashian说中提琴是最具人性的乐器，弦音不时散发着如凄如诉的悲情，也传诵着美丽如诗的喜悦。 身兼单亲妈妈和老师两个角色，Kashkashian在缺乏生涯计划的野心以及诸多困扰的挑战下，仍然在十年内交出了一张十分漂亮的成绩单。老实说，连天赋异禀的Nobuko Imai、似水柔情的Pinchas Zukerman、或天才乐手Yuri Bashmet，都无法提出等量的成果。在Kashkashian指尖中流转过的乐章不胜其数，其中包括巴哈、Hindemith，以及她所擅长的各种不同乐风；而创作或演奏的动力，则不仅来自于她内心的驱动，更来自同侪之间的鼓励。 Kashkashian最优秀的作品，就是受到了身兼ECM New Series老板与制作人的Manfred Eicher、合作多年的老友Robert Levis，以及曾经同台演出的指挥家Dennis Russell Davies的「支持」。曾经和Kashkashian密切合作过的作曲家还包括Krzysztof Pendereckigiya、Giya Kancheli、John Harbison 、Gyorgy Kurtag。 现年45岁的Kashkashian生于美国底特律。底特律城特有的悲伤消沉，让她在无形之中，更易于和许多东欧作曲家进行心灵沟通。举例而言，像Schnittke, Penderecki或Kancheli等人，即便是开玩笑所使用的语言，也多半充满着阴郁的色彩；而Kachkashian倒是早已习惯了这种澹澹的忧伤。事实上，就乐器的种类来说，中提琴本身向来就被视为”忧郁的情人”，不过，Kashkashian却一直有意呈现中提琴的另一面，展示出它更多面的特质。