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Manfred Eicher
Manfred Eicher / Bart Babinski

ECM 50th anniversary weekend

At the end of the 1960s, all the musical scenes (classical, jazz, rock, folk, improv...) were striking off on new paths beyond the boundaries of established genres.

In the same vein, Manfred Eicher, former double bassist and recording assistant at Deutsche Grammophon, went on – as a producer – to create a musical continent shaped by his vision, where erudite forms of jazz, contemporary music and world music came together. Many musicians from the ECM stable have a close relationship with the cinema: either they have composed soundtracks, like Eleni Karaindrou (for Angelopoulos) or Louis Sclavis (for Tavernier), or they are inspired by cinema, like Trovesi and Coscia (by Comencini’s Pinocchio) or Tomasz Stanko (by Komeda’s melodies for Polanski) or François Couturier (who draws inspiration from Tarkovsky). In the opposite direction, a filmmaker like Godard has used a lot of music from the catalogue for his films. The same goes for Sandra Nettelbeck: Manfred Eicher is credited as music consultant on Mostly.

In collaboration with CINEMATEK