Some Confusion over the ECM Azimuth Reissue

Cover of the album being discussed (from its ECM Web page)

There seems to be some confusion over the latest release in the new ECM Luminessence series, discussed on this site on March 1 and March 3. According to my sources, the first round of releases was scheduled to conclude tomorrow with the reissue of the debut album of the British jazz trio Azimuth with a self-titled album. While this was confirmed on ECM’s own Web page, it seems to be available through an Amazon.com Web page, which claims the album has been available since this past January 19. My past experience suggests that Amazon tends to be not very good about dates, but that Web page appears to be accepting orders. Those that are not particularly obsessed with the new vinyl trend will be happy to know that Amazon also has an MP3 download Web page.

The Azimuth album, which was entitled simply Azimuth, was recorded in March of 1997 and released later that year. The group was far from your usual jazz trio. Pianist John Taylor performed with vocalist Norma Winstone and Kenny Wheeler on trumpet. The group also worked with looping technology for some of the tracks. For the most part, Taylor provides a “continuo” for “dialogs” between voice and trumpet; and the production crew used overlay technology to turn the solo voice into a polyphonic choir.

The album consists of only six tracks. The longest of these is the title track, which lasts a little more than twelve minutes. The shortest, “Greek Triangle,” comes and goes over the course of only two minutes. Winstone’s voice has dreamy qualities, which make for a sharp contrast to Wheeler’s interjections. Taylor works primarily with electric keyboards, rather than an acoustic instrument.

ECM cultivated a reputation for what might be called a meditative aesthetic in its choices for composers and performers. The initials stood for Edition of Contemporary Music; and its early reputation was for what might be called “adventurous jazz.” Where my own writing has been concerned, I would say that the label is now best known for its recordings of the music of Arvo Pärt, the primary beneficiary of the ECM New Series releases.

On the jazz side, Azimuth is far less adventurous than other ECM jazz musicians I have encountered, such as Keith Jarrett, Chick Corea, and Charlie Haden. For better or worse, my preferences run to the cerebral side. The Azimuth aesthetic may have been trending when the trio released its album; but, as far as I am concerned, it is now part of a past that is best forgotten!