Steve Kuhn
Trance
ECM

Julian Priester/Pepo Mtoto
Love, Love
ECM

David Holland/Barre Phillips
Music From Two Basses
ECM

Has it really been 30+ years since Manfred Eicher started ECM? How many labels have come and gone in its wake? The definitive sound, attitude and quality of music that has made this institution last so long is evident in these three reissues. Upon hearing these discs with over three decades of subsequent music, you can't help but appreciate the atmosphere of experimentation and danger that permeates these products.

Holland's series of duets with Barre Phillips is simply a one-of-a-kind foray. At times a dance between partners, at others akin to a wrestling match, this 71 recording bars no holds as one hears 37 minutes of basses bowing, plucking, slashing, talking and screaming to and at each other. Experimenting with dynamics, harmonics and tonality, Holland and Barre evoke moments alternating between moods reminiscent of Fairport Convention and The Beatles' Revolution #9.

Dangerous, provocative, and above all communicative.

Trombonist Priester gives a nod to Weather Report and plugged in early 70s Miles with this hard-hitting experiment with fusion and electronics. Sticking mostly to synthesizers, and accompanied by an explosive entourage of expansive musicians, Priester throws in everything including the kitchen sink (I actually think I heard a garbage disposal at one point) on this aggressive montage of themes. Caliman's stratospheric screeching reeds cry over a jamming electric funk groove, with a trio of swirling and spacey keyboards crashing in the mix. At times overwhelming, other times ready for Soul Train. Definitely not for the smooth jazz crowd!

Many people may not know that pianist Kuhn was McCoy Tyner's replacement in John Coltrane's Quartet. His ability for adventure should not be underestimated, and this sophomore disc for ECM demonstrates a perfect balance between experimentation and restraint. He is able to display classical chops (as on "Squirt"), create exotic and hypnotic moods ("Trance"), and take off the gloves and mix it up with Swallow and Dehohnette ("A Change of Face'). On the electric piano, Kuhn burns through the galloping rhythm section with abandon. Mixing fusion, straightahead jazz and modal, Kuhn displays creativity and vision on this stimulating 75 date.

Nothing like looking back to see where our trajectory lays. These three time capsules demand a simple question: Would anybody put out these discs out today if Kuhn, Holland and Priester were new and undiscovered artists?


-George W. Harris