Wow Chris - confusing as heck and surprising new information to me. I thought ECM referred mostly to Keith Jarrett (who's obviously steeped in tradition).

But listening to your examples, I actually thought: I heard this before and liked it. And the group that came to mind was Medeski, Martin and Wood.

Then I did a search of ECM and saw the new term I haven't heard before "Avant-Jazz". So this is like the European version of jazz? No ties to "Black American Music"?

Truly new information to me.

Don Cherry, Art Ensemble of Chicago, Sam Rivers, plus many more ties to BAM at ECM
ECM is the brainchild of its owner and producer Manfred Eicher, you should check out the Jan Garbarek album Officium: http://www.youtube.com/watch?v=_D4LtzZACek
Improvisation together with medieval singing . . .

Conference of The Birds: http://www.youtube.com/watch?v=p2uoLafv5c0
Dave Holland, Anthony Braxton, Sam Rivers, Barry Altschul: another great ECM album

Btw; my examples are 1: Gary Peacock album Tales of Another, 2+3: Jan Garbarek-Bobo Stenson Quartet album Witchi-Tai-To

So KJ's here too. But his 'Standards' are not ECM style right? Even though they're on ECM Records.

I think "they've" given up on having a specific style, and just record great music played by great musicians.
Maybe it's not so much to do with the music itself, but more to do with the artistic and aesthetic approach that each artist has.

Had an interesting rehearsal last night. Our bass player couldn't make it so we did a piano/drums duo. I was sceptical about whether I could keep it together doing this, but I actually surprised myself. I think it was a real breakthrough in terms of my progress with time feel. And since my overdubbed recording of Solar, I've been working on walking lines while soloing so I tried it out last night. I feel considerably limited in what I can do, but I can keep it going... so it's a step in the right direction I think. Here's Autumn Leaves:

http://www.box.com/s/j7ay6nr0o3oz5z7tmqlq

I dropped the form once, and I'd like to get some 16th note lines in there, but it is what it is. Comments and criticisms are welcome.

Oh, and I used the electric piano because the bass was a little stronger. Not the greatest ep I know.

Very neat Scott. The walking bass was very well done.

That's pretty good Scott. You have quite a bit of variety in the LH which shows how far in control you are.

When I do this I tend to simplify one or the other. I admit I don't practice it too much since I don't have occasion to use it.

Your RH is certainly sounding very good. Great job!

Cool Scott!
Nice with a Rhodes. The Fender Rhodes company actually made a Bass keyboard, listen to The Doors: http://www.youtube.com/watch?v=5qRJIBtbc2c Ahh what a song!

Thanks guys! I'm going to keep at this style for awhile. It's alot of fun.

Chris, that bass rhodes is sweet. I looked to see how much it would cost to get a decent one... about $3,000 dollars! For that much I'd just get a full size rhodes. I've always wanted one of those.

I've changed my axe. Getting delivery of this next week...

what's wrong with the Roland ?

Well listen to the last recordings. I've already changed speakers, mixer. Just doesn't sound good in an amplified mix.

I am on board with this I just popped in and I am floored by the information
I wont ask any questions until
I have gone through all the pages and caught up
but just know I am here reading and following I think I will start with the mcfartland interview

I used to love hearing those radio broadcasts.

Welcome maduro, there's a lot of pages to catch up with so feel free to jump in and get your feet wet!

Yeah the Marian McPartland interviews are great!

It's not red

Cool keyboard, jazzwee.

Cathy

It clashes with our band's black attire (see pic above) But I'll have to get used to that.

Had a jam session tonight. I think I only played one tune I knew. Good experience at new stuff and this recording here is Black Coffee. Interesting tune. All #9 chords. Lovely stuff to get a few seconds before count down

Black Coffee
http://soundcloud.com/jazzwee/black-coffee

And then they call this...LOL, I'm developing survival skills.

Sugar
http://soundcloud.com/jazzwee/sugar-1

Hey wee
I couldn't open Sugar

fixed...

When I listened to my recordings last night, my thought was I didn't like my articulation at all. Seemed stiff. Gotta focus on that.

Playing with unknown tunes means my mind is elsewhere and it shows, I think, where my subconscious is not handling the situation. On a new tune, my mind is focused on the form so I'm just glaring at the lead sheet, trying not to get lost.

This is good though because it's a supreme test. What I do on an unknown tune will amplify my weakness.

In these I'm not even comping much until the second chorus as I try to figure out the form (because I'm not counting properly often times).

Anyway, I'm surprised I can even solo over these. So it's like reacting to the chords just a bar in advance. Pretty hard to make a solo makes sense. I think some of it was probably just by ear.

I still can't open sugar.

Sorry, Knotty. I reuploaded Sugar because there was tons of extraneous discussion on the recording before we started playing (just to show that some of us didn't know the tune -- like me). It should be ok now.

It's hard to play tunes you don't know. For me, I really don't enjoy playing tunes unless I can sing the melody. I think you did well on Sugar. Those fingers are getting faster.

I tried these same tunes last night, now that I've actually heard the melody and it is obvious I do so much better when I know the tune. So it doesn't take much it seems. But doing it with a few seconds warning is like a crash course. Like I said, I only have a bar to look ahead harmonically. And it's particularly difficult when the form is unknown.

I think I did fast fingers on Black Coffee, not Sugar. All that work on Chopin 10/1 is paying off speed wise...

so the trick for me is to sit and listen to the melody when it is played. That's the time you have to learn it. Often, the bridge is the tricky part. But to me,it's easier to understand the tune if the melody makes sense.

On some tunes, it's horribly difficult though, like Corea, Metheny or Evans tunes. But I think it's mean to call those at jams.

As much as they throw all these new tunes at me at jam sessions, when I call Dolphin Dance or Giant Steps, they balk. It's always one way. I guess I can take it and they can't. LOL.

I don't even complain now when they throw any tempo at me or turn a 3/4 tune to 6/8 right in the middle. It's all weird but it builds up skill. A year ago, this was all unthinkable.

BTW before I cut out the extra chatter on Sugar, someone actually played the melody (to try it out) so I at least heard it. But when laid on the chords, it wasn't that obvious how it fit.

To me, there are friendly jam tunes, and unfriendly ones.
Someone can call Lady Bird, Moment's Notice, Yesterdays and we can all more or less make it through. But some tunes are just really wild and to hear the melody over the chords is tough.
Dolphin Dance is one of those tunes. Very Early, Waltz for Debby, James, Spain, all those tunes should be left for home or rehearsal, not jam sessions. imho...

Calling Giant Steps is on the edge. Because the changes do move in weird motions, but at the same time, many people actually practice that tune. So it's kind of border line. Cherokee is another, since it's hard to play slow and the bridge is such a mother ... In that case, I just ask nicely if people feel like it.

See the difference? Very few people practice Dolphin Dance. Everybody practices Giant Steps.

I seldom encounter anyone playing giant steps at these mid-level jams. I do think there's a preference for guitar friendly tunes. Dolphin dance is probably unknown to guitar players. Even maiden voyage is seldom called.

Then again, no one has called Donna Lee.

Around here confirmation, cherokee, etc are hardly ever called. Could be a West coast thing. Latin tunes are more popular.

I did call Very Early but I cant say it turned out well.

At the Jams I attend here, everybody gets a lead sheet. Usually the Jam-leader hands out a fake book - usually The C Book (Bb+Eb versions too) - wherein we all get to call a tune. If a vocalist turns up they always have to provide lead sheets in their key of choice. Same thing if I want to call a tune that's not in the book, I have to provide lead sheets.

same here. Sometimes people will bring their own transcriptions and copies for all. Discovering new tunes can be really fun. Lately I've been into Cole Porter. Can't believe how great tunes like 'I love you' are.