#ECM

[itsis4]

did a ref sheet for peter cause im trying to be consistent in how i draw this dude

also experimenting with different coloring

[jiloop]

How we feelin about the new chapter? (I'm in shambles)

Getting these out of my head before responsibilities kidnap me and am unable to draw again. Sorry that the third doodle is so rushed sdkjsgd

Each drawing I post of them we get closer to a finished illustration

ECM written by @luciaintheskyainthi

[deliriumthinker]

Delirium and her sundial 🐠☀️

[nelc]

Anti-drone back-pack jammers

[whirligig]

quick sketch of genderbent spideyhood cus why not (ignore the hands, hands are hard)

I used an art base I found on Pinterest as a reference but unfortunately can’t find it again 💔

Existential Crisis Mode by LuciaInTheSky @luciaintheskyainthi

READ IT IT’S SOOO GOODDD (ᗒᗣᗕ)՞

[jt1674]

[projazznet]

Pat Metheny Group – American Garage

American Garage is the second album by the Pat Metheny Group, released in 1979 on ECM Records.

Pat Metheny – 6-and 12-string electric and acoustic guitars Lyle Mays – piano, Oberheim synthesizer, autoharp, electric organ Mark Egan – electric bass Dan Gottlieb – drums

[dustedmagazine]

Keith Jarrett — New Vienna (ECM)

Here, to celebrate Keith Jarrett’s 80th birthday, is a timely reminder that freedom manifests in all shapes and sizes. In 1992, when an earlier Jarrett album was recorded in Vienna’s famous Musikverein, the maverick pianist brought his audiences along on extended journeys from relative accessibility toward something like its polar opposite. Freedom resided deep in a series of adjacent communal pasts channeled through a performer of singular energy and creativity. In Jarrett’s pianism, nothing is quite as the coalescence of surface and symbol might suggest. The merging of listener and performer context breeds the experiential conglomerations forged in the smithy of Jarrett’s cosmopolitan musical language, rife with episodic unity channeled through an astonishing and overwhelming energy. In 2016, on his final solo concert tour, the vignette qualities so prevalent in those long excursions had been foregrounded, but the underlying allusive elements comprising them remained distilled. The appropriately named New Vienna harnesses, in a suite of miniatures, the vitality and experience that transform the best solo Jarrett performances into the expansive micro historical narratives they are. Yet, we are taken far beyond the formidable solo discography as Jarrett’s entire approach to his musical endeavors is capsulized.

Only glance back at the earliest entries in his daunting discography, encompassing jazz and folk, to see that Jarrett was, even then, an artist not to be pigeonholed. The solo concerts, first documented by ECM in 1973, brought his musical diversity to bear in a largely improvised frame perfect for the homage and  rumination forming his pianism. In 2016, a point of culmination in retrospect, his playing gains a patience that never sounds resigned. Like Sviatoslav Richter in the 1990s, serenity vies with energy to create a rather astonishing sense of completeness. Buildup is non-existent. Jarrett comes out swinging into “free jazz” territory; there’s none of the droning repetitions that might have imbued the first moments of his formative solo excursions, but it’s also not fair to neglect the dyadic unity guiding this piece down its superficially resistant path. As those dyads expand outward into counterpoint bridging the syntactic gap between Lennie Tristano and Bud Powell, registral contrast holds all together. The sixth part mirrors the first but at a decreased tempo, each gesture sustained as if a canonically varied version of the disc’s opening music. The second piece emerges with the aching clarity of a ballad, drawing shades of Liszt and Ravel into the mix as the high-tenor melody unfolds. Similar textures abound in the fourth and fifth parts, all three pieces often reminiscent of Jarrett’s gorgeously meditative duo recordings with Charlie Haden. When he hits the blues in the eighth section, we’re back in his Charles Lloyd apprenticeship days with a stop-over in rawly emotive “Chant of the Soil” territory for good measure. Jarrett swings as hard as ever, but there’s a calm at the center even as the right hand ranges boppishly over the piano’s upper half.

The tissue connecting the eighth and ninth sections with the final piece, another version of “Somewhere Over the Rainbow,” to excite the initiated, is as easy to feel as it is difficult to describe. Blues and gospel coalesce with requisite vigor, a further deep-dive into Jarrett’s diverse musical past spun out with his customary brilliance, and of course, the standard inhabits something of a similar space as the opening piece, contrapuntal melodies again integral to the tune’s exquisite treatment but in a different historical frame. At the heart of everything he plays, from whatever mode or expressive landscape Jarrett channels those streams of ideas in flux. There’s a directness, a palpable desire to communicate and engage. Tristano used to say of Powell that when he hits a note, he goes right to the bottom of the keyboard, a sentiment applicable to every note Jarrett plays in this beautifully recorded concert. It now takes its place not only alongside the other 2016 recordings ECM has released but in a discography of solo performances unlike any others I’ve ever heard. It encapsulates the freedom of expression underlying every phase of Jarrett’s extraordinary journey, from the secular to the sacred and back again, a perfect way to celebrate with him.

Marc Medwin

[nicoooooooon]

Jan Garbarek, Bill Frisell, Eberhard Weber, Jon Christensen – “Paths, Prints” vinyl cover front and back (1982)

Design by Barbara Wojirsch Photography by Petra Nettelbeck

[grrl-beetle]

Windfall Light: The Visual Language of ECM

[atelieroblique]

[itsis4]

I read the latest chap and i just couldnt shake the image of Jason in front of Peters door with a big flower bouquet like a regretful romantic comedy lead lmao

inspired by chapter 37 of Existential Crisis Mode by @luciaintheskyainthi

[jiloop]

Spideyhood sketches, also from the assassin Peter fic

I need to draw a reference for Jason or something cuz I keep randomizing his scars

[deliriumthinker]

new look at Tom Sturridge as Dream of the Endless and Esmé Creed-Miles as Delirium of the Endless in Sandman s2 for the Brief Lives arc ⏳🌀

[musicollage]

Keith Jarrett + Charlie Haden — Jasmine. 2010 : ECM 2165.

[grrlmusic]

Windfall Light: The Visual Language of ECM