Keith Jarrett’s ECM discography embraces solo improvisation, duets, trios, quartets, original compositions, multi-instrumental ventures, masterpieces of the classical repertoire and wide-ranging explorations of the Great American Songbook.
Jarrett was born in Allentown, Pennsylvania, in May 1945. He took his first piano lesson before his third birthday and gave his debut solo recital aged seven. “I grew up with the piano,” he has said, “I learned its language while I learned to speak.” His earliest training was classical, but by the age of 15 his piano lessons had ceased and Jarrett’s interest in jazz was burgeoning. He turned down an opportunity to study with Nadia Boulanger in Paris and in 1964 took the decisive step of moving to New York to establish himself in the jazz world. After a spell touring with Art Blakey’s New Jazz Messengers, Jarrett joined Charles Lloyd’s quartet in 1966. He also played organ and electric piano with Miles Davis in 1970 and 1971.
Jarrett’s association with ECM dates from November 1971, when he and producer Manfred Eicher first collaborated on the hugely influential solo piano album Facing You, eight short pieces which, in Eicher’s words, “hold together like a suite”. The album also prefigured the solo piano concerts which would be such a defining aspect of Jarrett’s career.
In 1973 ECM organised an eighteen-concert European tour, consisting solely of Jarrett’s solo improvisations. The Köln Concert (1975) has unsurprisingly passed into legend: a multi-million-selling album that has been the subject of books and a complete transcription. But Köln should not eclipse the achievement of the whole sequence of improvised concerts, a genre which Jarrett effectively created. After the success of that first solo tour, Jarrett has continued to pursue the improvised solo concert format, the decades of his career studded with records of his endlessly fertile imagination, usually referred to simply by where they took place: Paris, Vienna, Lausanne, Carnegie Hall, La Scala...
Jarrett has been a member of several outstanding groups. In the mid-1970s he began recording with his so-called “European Quartet” consisting of saxophonist Jan Garbarek, bassist Palle Danielsson and drummer Jon Christensen. Their recordings include Belonging, My Song, Nude Ants, Personal Mountains and Sleeper. No less essential is his contemporaneous “American Quartet” work with Charlie Haden (bass), Paul Motian (drums) and Dewey Redman (sax), whose output included The Survivors’ Suite and Eyes of the Heart (both 1976). The American Quartet extended the range of Jarrrett’s trio with Haden and Motian. The early trio’s work is documented on Hamburg ’72.
In the early 1980s Jarrett formed his “Standards Trio” with bassist Gary Peacock and drummer Jack DeJohnette, which proved to be one of the most fertile and long-lasting partnerships in jazz history. Over the years they have toured and released an unparalleled series of albums of standards and freely improvised sets, including the 6-CD set At the Blue Note, an extraordinary record of three extraordinary nights in June 1994, about which the New York Times wrote: "Jarrett makes each new note sound like a discovery... The music whispered and glimmered, seeking a pure, incorporeal song.” In 1987, Jarrett initiated a series of recordings of some of the great monuments of the classical keyboard repertoire with Bach’s Wohltempierte Klavier, Book I, which was followed by the Goldberg Variations (1989) and the second book of Wohltempierte Klavier (1990). For a pianist with such a fine command of voicing, Shostakovich’s 24 Preludes and Fugues, Op. 87, was perhaps a natural next step: "It didn't feel like I was playing someone else's music," Jarrett said of his first encounter with these works. "[The pieces] are coming from some strange quirky place that I'm familiar with.” The New York Times was just one of many to hail this award-winning recording: no mere crossover curiosity, “Jarrett has finally staked an indisputable claim to distinction in the realm of classical music”.
40 years on from his ECM debut, Facing You, Rio (2011) blazed with as much energy and invention as any of his solo concerts from the past four decades, while his duet sessions with the late bassist Charlie Haden (Jasmine and Last Dance) reveal the players at their most intimate and introspective: “When we play together it's like two people singing,” Jarrett said of these recordings.
ECM marked Jarrett’s 70th birthday with two simultaneous releases, a mid-80s recording of Barber’s piano concerto and Bartok’s third, and Creation, a nine-piece suite drawn from concerts in the pianist’s 2014 concert tour. Creation is amongst the most strongly lyrical of Jarrett's recent solo releases, the choice of music emphasizing pieces in which there is a sense of song being born, voices striving to be heard. It also offers the most up-to-the minute account of Jarrett's uncanny capacity to construct compelling music in real-time: his melodic-harmonic imagination as an improviser and his ability to consistently find and shape new forms remain, after all these years of solo concerts, remarkable

Duke Ellington influenced millions of people both around the world and at home. He gave American music its own sound for the first time. In his fifty year career, he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia.

Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onand will endure for generations to come. Winton Marsalis said it best when he said "His music sounds like America." Because of the unmatched artistic heights to which he soared, no one deserved the phrase “beyond category” more than Ellington, for it aptly describes his life as well. He was most certainly one of a kind that maintained a llifestyle with universal appeal which transcended countless boundaries.

Duke Ellington is best remembered for the over 3000 songs that he composed during his lifetime. His best known titles include; "It Don't Mean a Thing if It Ain't Got That Swing", "Sophisticated Lady", "Mood Indigo", “Solitude", "In a Mellotone",and "Satin Doll". The most amazing part about Ellington was the most creative while he was on the road. It was during this time when he wrote his most famous piece, "Mood Indigo"which brought him world wide fame.

When asked what inspired him to write, Ellington replied, "My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people".

Duke Ellington's popular compositions set the bar for generations of brilliant jazz, pop, theatre and soundtrack composers to come. While these compositions guarantee his greatness, whatmakes Duke an iconoclastic genius, and an unparalleled visionary, what has granted him immortality are his extended suites. From 1943's Black, Brown and Beige to 1972's The Uwis Suite, Duke used the suite format to give his jazz songs a far more empowering meaning, resonance and purpose: to exalt, mythologize and re-contextualize the African-American experience on a grand scale.

Duke Ellington was partial to giving brief verbal accounts of the moods his songs captured. Reading those accounts is like looking deep into the background of an old photo of New York and noticing the lost and almost unaccountable details that gave the city its character during Ellington's heyday, which began in 1927 when his band made the Cotton Club its home.''The memory of things gone,'' Ellington once said, ''is important to a jazz musician,'' and the stories he sometimes told about his songs are the record of those things gone. But what is gone returns, its pulse kicking, when Ellington's music plays, and never mind what past it is, for the music itself still carries us forward today.

Duke Ellington was awarded the Grammy Lifetime Achievement Award in 1966. He was later awarded several other prizes, the Presidential Medal of Freedom in 1969, and the Legion of Honor by France in 1973, the highest civilian honors in each country. He died of lung cancer and pneumonia on May 24, 1974, a month after his 75th birthday, and is buried in theBronx, in New York City. At his funeral attendedby over 12,000 people at the Cathedral of St. John the Divine, Ella Fitzgerald summed up the occasion, "It's a very sad day...A genius has passed."

Bill Evans performed twenty-one times in The Netherlands during his musical career. In 1964 his manager Helen Keane organized a first European tour for the Bill Evans Trio.
In 1965 came a second tour, with Chuck Israels on bass and Larry Bunker on drums. The very first time Bill played in The Netherlands was February 12th of that year: in the afternoon the trio did a studio recording, broadcast by Dutch radio, and in the evening they gave a concert at the Royal Concertgebouw in Amsterdam with its neoclassical architecture and famous acoustics. Bill's last Dutch concert, with Marc Johnson on bass and Joe LaBarbera on drums, occurred on December 10th, 1979, less than a year before his untimely passing in 1980 at the age of fifty-one.

“Kozlov is one of the anchors of modern jazz" Todd Barkan 2 times Grammy Award winning acoustic and electric bassist, composer and arranger, Boris Kozlov has been on New York and international jazz scene for the past 20 years. Currently serving as a Bassist, Arranger and Musical Director for Mingus Big Band, Mingus Dynasty and The Orchestra, as well as leading his own projects, he has also been a first-call bassist for such important jazz acts as Michael Brecker, John Blake, Ray Barretto's 'New World Spirit', Lew Tabackin, David Kikoski, Alex Sipiagin, Jean -Michel Pilc and many others.
Boris Kozlov was born in Moscow ,USSR on December 5, 1967 . Having a chance to go to Children's Music School to study piano for 7 years, he fell in love with the bass and won Gnesin Music Academy competition to enter college at the age of 15 on electric bass guitar. While being influenced by rock and classical music, he took interest in jazz at 17 and went on to study acoustic bass with a notable bassist Anatoly Sobolev. Upon graduation in 1987 with Diploma of Honor at the age of 19, he served mandatory 2 years in the Soviet Army, where he had to play tuba and other brass instruments besides basses in the military band.
Once out of the Army, he was hired by the State owned 'Melodia' Studio Ensemble in 1989 and proceeded to record more than 40 albums with them as well as many other Soviet jazz artists. At the same time he continued his studies at The State Academy of Music. At the First USSR Competition of Jazz Soloists in 1990 he won The Grand Prix as well as a special prize for his original composition. After winning the first spot in Young Musician category in USSR Jazz Journal in 1991 he decided to move to New York. The self-study continued in a specific NY jazz environment ,where he was eventually hired by Hassan Williams and Terry Gibbs/Buddy De Franco Band and later by : saxophonists Bobby Watson, Bob Berg , Benny Golson, James Moody, Ronnie Cuber, John Stubblefield, Ravi Coltrane, Seamus Blake, Donny McCaslin .
trumpeters Dizzy Reese, Phillip Harper, Brian Lynch ( Grammy 2007), Alex Sipiagin,Ray Vega pianists Eddie Palmieri, Walter Bishop Jr., Michel Petrucciani, Arturo O'Farrill, Michel Legrand, Stanley Cowell, Jon Ballantyne, George Colligan, Orrin Evans, Edward Simon, Helen Sung, Joey Calderazzo vibraphonists Joe Locke, Bill Ware; guitarists Mark Whitfield, David Gilmore, Adam Rogers, Jack Wilkins, Ximo Tebar drummers Tommy Campbell, Victor Jones, Marlon Simon, Victor Lewis, Jonathan Blake, Jeff 'Tain' Watts, Ali Jackson, Antonio Sanches; vocalists Jay Mc Govern, Urszula Dudziak, Monday Michiru; trombonists Conrad Herwig, Robin Eubanks, Andy Hunter; trombonist/vocalist Frank Lacy’s Experience and the funk- jazz band NewHypeJazz After sharing a stage with McCoy Tyner, Jimmy Cobb, Maceo Parker, Jimmy Smith, Henry Butler, Toots Thielemans & Clark Terry on multiple occasions and playing on 9 Grammy nominated albums plus the Grammy winning 'Simpatico' -in addition to the other 160 albums, having few of his Scores published, Boris continues to serve as an MD for all of the Mingus Dynasty projects( winning his 2nd Grammy with them in 2010) ,touring and recording extensively with multitude of different other bands ,as well as doing international work with his own "Malfunction Alibi". He also performs solo bass and teaches master classes around the world following the release of his acoustic solo album " Double Standard".

The most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises. Thelonious Monk, who was criticized by observers who failed to listen to his music on its own terms, suffered through a decade of neglect before he was suddenly acclaimed as a genius; his music had not changed one bit in the interim. In fact, one of the more remarkable aspects of Monk's music was that it was fully formed by 1947 and he saw no need to alter his playing or compositional style in the slightest during the next 25 years.