Steve Reich, Octet – Music For A Large Ensemble – Violin Phase, (Vinyl/LP), ECM 1 1168, ECM Records, 1980 [midcenturyclassical]

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Steve Reich, Octet – Music For A Large Ensemble – Violin Phase, (Vinyl/LP), ECM 1 1168, ECM Records, 1980 [midcenturyclassical]
Keith Jarrett: New Vienna, Part VII (Late at Night 2026).
El relanzamiento digital Late at Night, publicado el 20 de marzo de 2026, recupera grabaciones del catálogo de Keith Jarrett bajo una misma atmósfera nocturna e íntima. Entre ellas aparece New Vienna, Part VII (Live), procedente del concierto de Viena de 2016 y editada originalmente por ECM en 2025. En esta breve improvisación, Jarrett despliega una de las páginas más introspectivas de su etapa tardía: una música contenida, hecha de armonías suspendidas, silencios densos y una fragilidad expresiva que parece hablar en voz baja.
Dentro del concierto, esta pieza funciona como una bisagra emocional entre la oscuridad de la sección anterior y el desahogo rítmico de la siguiente. Pero, incluso aislada en este relanzamiento, conserva toda su fuerza: en pocos minutos, Jarrett condensa duda, vacío y una tenue posibilidad de redención. Más que tocar, aquí parece dialogar con el silencio y devolverlo transformado en arte.
Steve Reich – Music For 18 Musicians
been sick with a chronic throat infection bleh bleh bleh lots of cat cuddles + coffee walks to the book store is my main form of therapy these days. Picked up The Word for World is Forest cause I heard it is “angry Le Guin” so I’m hoping it’ll be at least as good as Lathe of Heaven (my third fav of hers so far), and then saw the exact edition of Babel-17 that I’ve been looking for sitting behind the counter. Score. Also stopped at the record store to grab Vijay Iyer and Wadada Leo Smith’s latest record. Dark and beautiful jazz for the resistance. Legends.
Image from ECM Sleeves of Desire, via japaneseavantgardebooks
1975 - Keith Jarrett - ECM Records - distributed in Japan by Trio Records
Savina Yannatou, Primavera en Salonico and Lamia Bedioui: Watersong
Considering water as balm and curse, life and storm: the fabulous Greek singer and collaborators transport us across centuries and countries
Savina Yannatou is a fabulous Greek singer whose work over the last five decades hasn’t stood still. Her CV includes interpretations of early music, throat singing, composing for video art and improvisations with Can’s Damo Suzuki. Her new album with Greek jazz ensemble and long-term collaborators Primavera en Salonica and Tunisian singer Lamia Bedioui is a global tour of traditional songs about water: how it can be balm and curse, source of life and storm.
Watersong begins beautifully, in Greece, with The Song of Klidonas. Singing of a mid-summer ritual in which girls place charms in a pot of clean water to be left outside bathed in starlight, Yannatou dusts the beautiful melody with melancholy. Then the mood shifts. Naanaa Algenina (Garden Mint)/Ivana mixes folk songs from Aswan in Egypt and North Macedonia into a wild, wayward concoction: Yannatou and Bedioui’s opening stunning harmonies twist into a middle section in which Yannatou gasps and ululates around stuttering instruments. Elsewhere, she gives Cypriot traditional song Ai Giorkis (St George) a sultry edge and Spanish ballad A los Baños del Amor (At the Baths of Love) a hymnal glow.
The album jumps across the centuries, from Ireland to Iraq, Corsica to Calabria, but it is filled with intensely modern moments. Michalis Siganidis’s double bass in Greek carol Kalanta of the Theophany has motorik-like propulsion. The 10th-century Arabic poem Mawal (To the Mourning Dove I Said) comes across as an avant garde contemporary prayer, setting a tangle of percussion against Yannatou and Bedioui’s spoken-word delivery, full of contrapuntal whispers and wails.
Traditional instruments such as Kostas Vomvolos’ qanun (an Arabic zither) and Harris Lambrakis’s ney (a Persian flute) also add drama and dreaminess. This album sets traditional music flowing and crashing in many unexpected, wonderful directions.
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