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Audio CD, June 26, 2012
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song TitleArtist Time Price
listen  1. May DanceArild Andersen 6:26$1.29  Buy MP3 
listen  2. Molde Canticle, Pt.1Arild Andersen 8:51Album Only
listen  3. Crystal SilenceArild Andersen10:04Album Only
listen  4. Ulrikas DansArild Andersen11:15Album Only
listen  5. Independency, Pt.4Arild Andersen16:59Album Only
listen  6. My SongArild Andersen 8:08Album Only

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Associated with ECM almost from the beginning of its history, Arild Andersen played on five of the first 20 albums issued by the label – Jan Garbarek’s “Afric Pepperbird” and “Sart”, Terje Rypdal’s ECM leader debut, Bobo Stenson’s first trio disc, and saxophonist Robin Kenyatta’s “Girl from Martinique”. Andersen’s first ... Read more in Amazon's Arild Andersen Store

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Editorial Reviews

The double-bass of Arild Andersen, for more than four decades an integral part of the sound of ECM, is heard for the first time as the lead voice in large ensemble arrangements of music associated with the label, on an album recorded live at Glasgow s Royal Conservatoire. Under the direction of Tommy Smith, the Scottish National Jazz Orchestra, with Andersen as principal soloist, plays May Dance by Dave Holland, Molde Canticle by Jan Garbarek, Crystal Silence by Chick Corea, Ulrikas Dans by Trygve Seim, Arild s s own Independency , and My Song by Keith Jarrett.

The project had its genesis in 2009 when ECM s 40th anniversary inspired a number of tributes and festivals around the world. Tenorist Tommy Smith, who had been playing extensively with Arild in Andersen s trio (see Live At Belleville ), proposed a special event with the Scottish National Jazz Orchestra, the big band he had founded in 1995. The orchestra is renowned both for its own programmes and for themed collaborations with guests (recent instances including Gary Burton playing Wayne Shorter s music with the SNJO, and John Scofield playing Electric Miles).

Arild Andersen: Tommy asked me if I could imagine a project to celebrate ECM, with me as the soloist up front with a full rhythm section, including a second bassist, behind me. We began to think about how that could work, and discussed the choice of material. I soon decided that I wanted to put the emphasis on strongly melodic compositions which would sound good on the bass... With a provisional selection made, they reached out to the exceptional international pool of arrangers associated with Smith and the SNJO. All pieces here are newly arranged specifically for this project. There are some strikingly original approaches to the material. We hear Crystal Silence imaginatively arranged by Makoto Ozone, the Japanese pianist who played alongside Smith in Gary Burton s quartet in the 1980s (see Whiz Kids , ECM 1329). Smith himself arranges Part 1 of Jan Garbarek s Molde Canticle , one highly distinctive saxophone player communing with the melodic imagination of another.

The project developed like a little history of music on ECM, Andersen says, and although the pieces are very different in terms of expression there are also some melodic and atmospheric similarities. I think Molde Canticle and Crystal Silence , for instance, go alongside each other very well.

If most of the solo space is negotiated, creatively, by Arild, Tommy Smith also has some muscular and incisive solos of his own on the disc as is immediately evident from the opening May Dance , Dave Holland s tune from the first Gateway album, reworked in a tight arrangement by Christian Jacob, another Burton alumnus. Arild: I d always liked this piece of Dave s, with its odd metres, and in fact I d played it in my own groups in the 1990s. I like the way this arrangement takes off from the first moment. I was surprised but pleased when Manfred suggested it as the opening piece for the album. ECM albums quite often slowly establish their atmosphere. This one is right in your face straight away... The rhythmic understanding that this large ensemble reveals here is testimony to fifteen years of extensive work under Smith s direction. (Furthermore, Andersen, Smith and powerhouse SNJO drummer Alyn Cosker have also worked in trio together...)

Particular pieces presented particular challenges. Arild had several talks with fellow Norwegian Trygve Seim while the saxophonist was reworking Ulrikas Dans (first heard on Seim s Different Rivers disc): We d picked it because it was attractively spacey. As Trygve went over it, together with his trombonist friend [Øyvind Brække], it became more complex and finally quite a ch

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