Legends Converge: A Review of ECM's 'Konzert für Manfred Eicher' at Elbphilharmonie

In the heart of Hamburg, on September 29, 2023, the resplendent Elbphilharmonie's Main Hall (Grosser Saal) played host to a musical event of great significance: "Konzert für Manfred Eicher." This was not just any concert, but a grand homage to the legendary Manfred Eicher, the mastermind behind ECM Records. For aficionados of the label, merely uttering Eicher's name evokes a world of musical richness and innovation, setting the bar incredibly high for the evening.

ECM's Musical Odyssey

ECM's iconic slogan, "The Most Beautiful Sound Next to Silence," was more than just a phrase that evening—it was a commitment. And as the audience settled into their seats, the expectation was clear: a showcase of the vast genres and forms that ECM has championed over the years, all while retaining a cohesive thread that binds them together.

Manfred Eicher's contributions to contemporary jazz, classical music, and genres beyond categorization are unparalleled. Each ECM album, while distinct in its essence, carries an unmistakable signature, a testament to Eicher's visionary approach. It's no mere accident that the label produces albums that are both diverse and identifiable. This is the genius of Eicher at play, a man whose vision has consistently pushed musical boundaries, creating pieces that are not just music, but boundary-dissolving works of art.

Being fortuitously seated in the first row, I braced for an immersive experience. Here, each note was destined to be deeply personal, with every chord and artist's expression resonating closely, offering a perspective few had the privilege to experience.

And, as if this immersive experience wasn't enough, the roster for the evening was a veritable who's who of musical legends, enhancing the allure of the night manifold.

Musical Beginnings

As the lights dimmed and the audience settled, the first notes of the evening emanated from the strings of Hungarian concert guitarist, Zsófia Boros. With each pluck, Boros painted a serene landscape, her mastery over the guitar evident in every chord. The mellow ambiance she set was a gentle invitation, ushering the audience into the world of ECM for the evening.

As Boros's solo came to a close, a new melody joined in— the hauntingly beautiful notes from the saxophone of Norwegian maestro, Trygve Seim. Seim's style, deeply reminiscent of the ethereal and almost spiritual tonality of Jan Garbarek, another ECM stalwart, added layers of depth to the performance. His saxophone carried both soft, mellow undertones and moments of sheer prowess, creating a musical dance with Boros's guitar. Together, their duet was a harmonious blend, setting the stage and tone perfectly for the musical journey ahead.

A Scandinavian Jazz Infusion

As Seim's saxophone notes began to wane, the stage came alive with the arrival of three additional musicians. Bassist Anders Jormin, known for his resonant and dynamic style, was a familiar name, especially for his collaborations with the Bobo Stenson trio, a cornerstone of the ECM catalogue. Joining him was drummer Jon Fält, another stalwart from the Bobo Stenson ensemble, whose rhythms, both bold and playful, added a distinct layer to the ensemble.

While the trio would typically feature Bobo Stenson on the piano, for this concert, the keys were helmed by Dominik Wania. Any apprehensions about this change were quickly put to rest as Wania showcased his adaptability and prowess. His playing seamlessly interwove with Jormin's robust bass lines, Seim's contemplative saxophone melodies, and Fält's subtle rhythms, creating a harmonious tapestry of sounds.

This ensemble embodied the European jazz essence that ECM is renowned for, reflecting Eicher's pronounced affinity for Scandinavian jazz. On a personal note, this segment evoked memories of my own initiation into the ECM world. It was Jan Garbarek's "I took up the runes" that first ensnared me, making me fall headlong into the label's unique, recognizable, yet elusive musical approach.

Chants and Strings

The transition from jazz to vocal mastery was marked by the entrance of the Estonian ensemble, Vox Clamantis. As the first notes of the Christian hymn "Jesu, dulcis memoria" filled the hall, one couldn't help but marvel at the sheer power and range of the human voice. Their Gregorian chants, reverberating through the Elbphilharmonie, transformed the modern concert hall into a cathedral of old, echoing the deep-rooted traditions of Western sacred music.

Amid this ethereal setting, Tigran Hamasyan's piano accompaniment stood out. The Armenian pianist, known for his eclectic contributions to the ECM album 'Atmosphères', added layers of ambient, jazz, and folk sounds, blending seamlessly with the vocal harmonies. However, as the performance progressed, Hamasyan made way for Anna Gourari. Her elegant touch on the keys beautifully complemented Vox Clamantis as they delved into Arvo Pärt's "The Deer's Cry" – a piece that resonates deeply given Pärt's longstanding association with Manfred Eicher.

The transition from the sacred to the classical continued with Reto Bieri's clarinet. His performance was nothing short of mesmerizing. As Bieri meandered slowly across the stage, his clarinet notes guiding him, he bridged the gap between Vox Clamantis at the rear and the awaiting Danish String Quartet.

While my personal leanings often veer towards the jazz offerings of ECM, the Danish String Quartet captured my attention unequivocally. Their performance was a dynamic dance, marked by swift mood transitions and intricate interplay. The quartet's ability to shift from one emotion to another, all while maintaining harmony and showcasing their individual mastery, was a testament to their prowess and the depth of ECM's classical repertoire.

Eicher's Resonating Absence

While the evening celebrated the genius of Manfred Eicher, his noticeable absence added a layer of poignancy. It felt like a grand festivity where the guest of honor remains an enigmatic shadow, present more in spirit than in form.

Yet, Eicher's essence was unmistakably woven throughout the event. Instead of a physical appearance, he connected with attendees through a heartfelt note. He spoke of music's universality and recognized the symbiotic bond between artists and their audience. His words were not just expressions of gratitude but a reflection of his belief in music as a shared experience. Eicher's message wasn't merely about celebrating his legacy; it was a gesture of appreciation to those who have journeyed alongside him in the world of music.

Chamber Music Delights

As the intermission concluded and the second half of the concert began, the audience was introduced to a new sonic landscape. Taking center stage was the renowned violinist Gidon Kremer, accompanied by the melodic strains of cellist Giedre Dirvanauskaite and the dynamic keystrokes of the young pianist Georgis Osokins. Together, they embarked on a musical journey, delivering compositions by the talented Georgian composer, Georgijs Osokins.

Contemporary chamber music, often seen as a niche within the vast world of classical music, was elevated to new heights by the trio. Each musician, with their impeccable technique and deep connection to the pieces, showcased the intricate layers and emotions embedded within Osokins' compositions. Their performance was a testament to ECM's commitment to showcasing varied and often underrepresented facets of the musical spectrum, reaffirming the label's reputation as a beacon of musical excellence.

East Meets West

The evening took another spellbinding turn as a legendary trio took the stage, promising a performance that would linger in memories for years to come. Leading the ensemble was Anouar Brahem, whose fingers danced on the strings of the oud, producing melodies reminiscent of ancient tales. Joining him was the maestro of jazz bass, Dave Holland, whose reputation precedes him and whose rhythms have become synonymous with jazz excellence. Completing the trio was the British soprano saxophonist, John Surman. The mere mention of Surman often evokes memories of the iconic album "The Amazing Adventures of Simon Simon," which he created in collaboration with Jack DeJohnette – an album that holds a special place in my heart.

Their ensemble brought back memories of "Thimar," an album that stands as a testament to ECM's commitment to genre-blending. Released in the late nineties, "Thimar" was a groundbreaking fusion of oriental folk melodies with the intricate structures of European and American jazz. During the performance, Brahem's occasional vocal interludes added a touch of mystique, seamlessly blending with the instrumental magic being conjured on stage. Surman, with every note, showcased his dedication, pouring his soul into melodies that were both intricate and profoundly moving. Meanwhile, Holland's bass provided the foundation, bridging varied musical traditions and weaving them into a cohesive tapestry of sound.

Witnessing this trio live was not just a musical experience; it was a journey through time, a celebration of cross-cultural collaborations, and a testament to the power of music to transcend boundaries. Truly, a once-in-a-lifetime privilege.

Jazz Evolutions

The musical tableau continued to evolve as Dave Holland, steadfast in his position on stage, welcomed new companions. Joining him was the iconic American jazz guitarist, Ralph Towner, whose strings have narrated countless stories over the years. Alongside them, the ethereal voice of British jazz vocalist Norma Winston graced the audience. Winston's crystalline vocals served as a gentle reminder of ECM's occasional foray into vocal jazz, harking back to the 1970s when she collaborated with luminaries like Kenny Wheeler and John Taylor. Together, the trio of Winston, Holland, and Towner crafted a tapestry of sound that was both intricate and evocative, reflecting the depth of ECM's musical palette.

However, the evening was far from its crescendo. The stage soon brimmed with a bolder, more explorative form of jazz, driven by the dynamic Israeli trumpeter Avishai Cohen and saxophonist Joe Lovano. Their attire, baggy suit pants, hinted at a contemporary flair, yet their music was undeniably rooted in the traditions of American jazz. Their powerful individual performances were so commanding that one might wonder if the stage was big enough for the two of them. But, as the evening progressed, it became evident that they fed off each other's energy, challenging and elevating each other to unparalleled musical heights.

Rejoining the ensemble was Tigran Hamasyan, whose piano melodies provided a grounding contrast to the soaring wind instruments. His intricate and traditional chords underpinned the ensemble, yet never faded into the background, showcasing his signature blend of musicality. Drummer Nasheet Waits, not to be outdone, gave a thunderous performance, producing rhythms that were both complex and compelling.

However, the audacity of their jazz expressions had a polarizing effect. While it captivated many, some found its intricate harmonies and disharmonies challenging. A few even chose to exit early. Such is the nature of this bolder jazz: it's a siren call for the adventurous, yet can test the preferences of more conventional listeners.

Lovano's Jazz Continuum

As the evening neared its zenith, Joe Lovano, a saxophonist of unparalleled repute, took center stage. His legacy, particularly his iconic collaborations with drummer Paul Motian and guitarist Bill Frisell during the '80s, precedes him. But on this night, the spotlight was firmly on his synergistic collaboration with the Marcin Wasilewski Trio, a Polish ensemble that had made a mark with their debut on ECM, supporting the illustrious trumpeter, Tomasz Stańko.

Lovano's saxophone sang, with notes that seemed to encapsulate the very essence of jazz, providing one of the evening's most powerful crescendos. His mastery was evident in every note, every pause, and every transition. But as all great soloists know, there's a time to shine and a time to let others take the lead. And so, graciously, Lovano stepped aside, offering the stage to the Marcin Wasilewski Trio.

What followed was a masterclass in intensity and escalation. Led by Wasilewski, the trio embarked on a musical journey characterized by intricate melodies that grew in complexity and fervor with each passing moment. It felt as though the evening's energy, built up over hours of exquisite performances, was being channeled through their instruments, culminating in a grand finale that left the audience spellbound.

As the last notes resonated within the hallowed halls of the Elbphilharmonie, it was evident that "Konzert für Manfred Eicher" was not just another concert. It was a celebration, a journey, and a testament to the rich tapestry of sounds and styles that ECM has nurtured over the years.

A Night to Remember

In reflection, "Konzert für Manfred Eicher" was more than a mere musical event; it was an odyssey through time and genre, a tribute to the visionary that is Manfred Eicher and the legacy of ECM Records. From the ethereal chants of Vox Clamantis to the dynamic crescendos of Joe Lovano and the Marcin Wasilewski Trio, each performance was a chapter in the grand story of a label that has consistently pushed musical boundaries. The uniqueness of this evening was amplified by the realization that such a lineup may never converge again. And with no recordings capturing this ephemeral magic, the concert remains a treasured memory, living on exclusively in the hearts and minds of those fortunate enough to have been present. It was a fleeting moment in time, reminding us of the transient nature of art and the enduring power of shared musical experiences.