Horizons Touched: The Music of ECM [Hardcover]

ECM, the most aesthetic of labels, has had books on its cover art before but this is the first book about the label generally. Neither biography of the label or Manfred Eicher, discography, collection of liner notes or anything so one-tracked, it is a rich testament to the full concept of ECM which, if one can be critical, is not as indepth in places as one would want and, as a result, leaves one hungry for more.

The book is divided into chapters on subjects such as the idea of the north as manifested in music, American Jazz, the art of the improvisers, early music, the engineers, post-Soviet composers and the like. The variety of subject headings is testament to the full scope of ECM and its output. Each chapter begins with a leading essay or interview followed by a number of associated and smaller comments from musicians. Sometimes the chapters flow easily into the next (by way of example, John Potter's headline essay on early music could easily be part of the proceeding chapter on the north, dominated by Garbarek with whom Potter, then part of the Hilliard Ensemble, collaborated for two of ECM's most famous releases "Officium" and "Mnemosyne"). Some of the subsidiary comments amount to little more than "It's great to record with Jan" and, on their own, say little but, read as a whole and in the context of the chapter, highlight the democracy of ECM.

This democracy and Eicher's single-mindedness mean that "Horizons Touched" is not going to condescend into detail of which recordings made money and which did not or act as a self-help manual in starting a record label but there are plenty of details about the ethos of ECM (no recording contracts, no cover pictures of scantily-clad sirens fiddling on the beach, no other subjegation) which make the point quietly but effectively (the Hilliard Ensemble's contrast of EMI and ECM is memorable). I do not share Gavin Wilson's interest in the "departure" of Pat Metheny and it is difficult to see how that affected the label's direction. I am unaware that a lack of funds means than Eicher cannot release all the weird and wonderful music he wishes, far from it and nor would Metheny's presence have been a conduit for a dilution of artistic integrity.

The writing is refreshingly accessible and in marked contrast to some of the liner notes which are unforgivingly academic (those for the well-known "Morimur" are a case in point). What "Horizons Touched" does in part is redress the balance of the focus of the liner notes on the music and the composers as opposed to the performers by humanising these wonderful virtuosi of many worlds of music. In this regard, "Horizons Touched" sits neatly with the "Rarum" releases of compilations chosen by twenty ECM stalwarts providing a subjective, personal, career and label-spanning perspective.

The presentation of the book in its hard slipcase with many beautiful and hitherto-unseen photographs is near flawless (although in the first few chapters I spotted a couple of typos which is most unlike ECM's legendary attention to detail). To anyone with a passing interest in jazz, classical, modern classical, improvisatory, and/or early music or who simply appreciates a beautiful artifact, "Horizons Untouched" is a magnificent momento of a wonderful world.

I'm a relative newcomer to ECM and its music, however what I have recognised in this short time, is the exemplary quality in everything they produce. This book is no exception, it is the reason why e-readers will never replace the printed book. It's a thing of beauty and a joy to hold, whilst enjoying the content which is informative and gives the reader real insight into the philosophy of Manfred Eicher, and the artists who record for ECM who share this care and attention to detail. This book is extremely well produced in every way, and having been a printer in Fine Arts and quality books for over 25years I would say this rates amongst the best I've seen. I would recommend this book to anyone who appreciates ECM its music its artists and above all Manfred Eicher. Buy it now... Its a Treat.

Like Geoff Dyer, who writes a chapter for this book, I discovered ECM records in the year before going up to Oxford. Unlike Geoff, I didn't desert ECM for punk music. So in our third year at Corpus, when we happened to get adjacent rooms, I must have been pumping Keith Jarrett and Pat Metheny through the wall while Geoff replied with the Clash and Sex Pistols.

But Geoff turns a much better phrase than I could ever hope to, so it's he who is contributing to this excellent volume.

This book also answers a question that has been bugging me for decades: whatever happened to Steve Lake? Steve's reviews for Melody Maker in the 1970s practically defined the music I listened to at the time and, as it happens, ever since. I'd even occasionally googled his name to try to find out who he has been writing for since leaving Melody Maker in 1978. It turns out that he's been an ECM producer since that year. He liked the music so much he joined the company.

This volume is full of rare pictures you may not have seen before. Sadly it doesn't provide a full explanation of what must have been a cataclysmic event in ECM's history: the departure of Pat Metheny. If Metheny had stayed, the finances and perhaps the entire direction of the company might have been different. But instead ECM is defined by the other two jazz giants -- Keith Jarrett and Jan Garbarek -- and there is plenty on both of them here.

Although ECM CDs tend to be available forever, their books quickly go out of print. Assume that this volume will also be a limited edition. You know what to do!