Bingo!
A life achievement for Tyran, who, so humbly like only truest greats are, was self-impressed by how many words he wrote...
I sincerely replicated that it's not a matter of quantity, BUT of quality... the quality this gifted gentleman put on every of his essays, from the shortest to the more complex.
Here (just click the orange/yellow push-button) is Tyran's Blog, for the few aren't aware of his... yes, I dare: genius.
A statement of journalism and creative writing.
A big, BIG thank you, Tyran!
... and my apologies for unashamedly cutting & pasting the following and its pouring heartfelt proudness...
Synchronicity
To my dear readers, old and new:
Five years, three months, and 16 days ago—on 10 February 2010, to be exact—I began this blog with the intention of reviewing every proper ECM and ECM New Series album ever produced. Over 800,000 words and exactly 1330 posts later (1331 if you count this one), I can now lay claim to that goal in earnest. (For those keeping score, I’m following the U.S. release schedule. I also have an additional review, specifically of Robin Williamson’s Trusting In The Rising Light, written but forthcoming elsewhere.) During that time, people have often asked me: What do you get out of this? To answer that would require just as many words as I’ve written for this project, and so I would humbly refer you to my past posts. Suffice it to say that ECM has given me more than any other label in a life already brimming with sounds and that my reviews, such as they are, can only meet its contributions halfway as reciprocation.
On that note, there are many people without whom these words would not be appearing on your screen. First and foremost, I must acknowledge everyone at ECM. Their kindness and generosity have validated my endeavors here every step of the way, and their acknowledgment of my work has led not only to my traveling to Munich and even writing liner notes for an album (see Terje Rypdal’s Melodic Warrior), but more importantly has created a lifelong relationship of mutual respect. My dedication in reviewing them all—daunting as it may seem in retrospect—is nothing compared to that of releasing them all, and we must all be grateful to ECM for its incalculable enrichments. I particularly want to thank, in Munich, Manfred Eicher for trusting me to serve as an unofficial mouthpiece for the label’s oeuvre; Steve Lake for his wise words and counsel, and for always making the time to accommodate my many requests for out-of-print and otherwise hard-to-find releases and interviews; Guido Gorna for coming through with scans of other rare materials and digital booklets when physical CDs were nowhere to be found; Christian Stolberg for sharing his love for ECM during my pilgrimage to Germany; and Sun Chung for believing in me not only as a fan, but also as a human being. Although not in Munich, I also consider writer Paul Griffiths to be a major part of the ECM family, seeing as he has almost singlehandedly shaped the voice of the New Series imprint with his peerless CD booklet essays and reflections. I am proud to call him my friend and have benefited immeasurably from his critical mind and way of looking at listening. In New York City, I bow to ECM Records publicist Tina Pelikan, not just for what she has done for me—providing all the materials I ever needed for review, arranging press tickets for ECM concerts, etc.—but more importantly for the unfathomable work she has done to promote especially New Series artists in the U.S. Also in New York, my hat goes off to ECM Records USA label head Sarah Humphries, a rock of inspiration to musicians and fans alike for both shaping and maintaining the integrity of the label’s international profile.
I must also thank the many ECM artists whom I have befriended these past five years and their unwavering support of my writing. It’s always nerve-wracking for me to share my thoughts with the musicians about whom I’m opining, and I can count myself lucky for having met no resistance to my hyperbole-prone musings.
In addition, in am indebted to those who have supported my project from day one, especially Paul Geffen, whose ECM Discography served as an invaluable resource and whose generous promotion of my work continues to draw new support across social networks. And on the journalism side of things, I gratefully acknowledge music writer extraordinaire and fellow obsessive John Kelman, Michael Ricci of All About Jazz, Cliff Furnald of RootsWorld, and Steve Layton of Sequenza 21 for providing alternative venues to my ramblings. There are countless more of you in this vein whom I will never forget. You know who you are.
Of course, no such acknowledgments list would be complete without my deepest, most heartfelt expression of faith in all of you who have read my words—some from the very beginning—with such enthusiasm and genuine interest. I’ve enjoyed getting to know you all in various capacities and look forward to strengthening these new friendships as our shared love for ECM brings us closer. It’s for your eyes as much as for my soul that I do what I do on between sound and space.
I feel it only appropriate that my last review before reaching this point should have been of Keith Jarrett’s Creation. For me, it says everything and more about how ECM has changed the recorded landscape and the musicians who so tirelessly work its soil. And because, fortunately, ECM shows no signs of slowing down (the label is, in fact, releasing more than ever), I will continue tilling right alongside them so long as there is music to be heard and those of us around to hear it.
–Tyran Grillo
Summer 2015
Summer 2015
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