Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Anja Lechner/François Couturier: Lontano (ECM)

A review of the second album from the cellist and pianist

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Anja Lechner/François Couturier: Lontano
The cover of Lontano by Anja Lechner/François Couturier

Sixty years ago, “third stream” music was supposed to be the next big thing in jazz. At the time, Gunther Schuller defined it as “a new genre … located about halfway between jazz and classical music.” Critics quickly deemed it a failure.

But the third stream did not die. It went dormant for about 30 years until the right musicians came along and made it viable—conservatory-trained classical artists, almost all European, who discovered jazz while still young enough to internalize both languages. A disproportionate number of them record for ECM.

Lontano is quintessentially representative. François Couturier of France and Anja Lechner of Germany entered the classical world in childhood, but they are improvisers now. Their piano/cello collaborations are like nothing you have heard before, unless you know their only other album, Moderato Cantabile (ECM, 2013). Lontano is inner-directed jazz, meticulous as chamber music. It is classical music released to float free in the moment. Joint improvisations like the title track and “Postludium” feel exploratory, open to possibility, yet sustain the album’s stately atmosphere. On composed pieces like Henri Dutilleux’s “Prélude en berceuse,” transitions between notation and improvisation are mysterious.

Above all, Lontano is hauntingly beautiful. Couturier writes rapt, crystalline melodies like “Flow” and sets them into motion so that he and Lechner can discover the unsuspected emotions they contain. He is a piano minimalist whose every note has meaning. But for the jazz audience, the revelation will be Lechner. She employs her technical mastery and her instrument’s yearning sonorities in the service of her bold imagination. Jazz people don’t get enough cello. “Alfonsina y el mar,” by the Argentinian composer Ariel Ramirez, is unalloyed poignance. In the hands of an artist like Lechner, the cello, like few other instruments, can tug directly at the human heart.

Learn more about Lontano on Amazon!

Thomas Conrad

Thomas Conrad has a BA from the University of Utah and an MA from the University of Iowa (where he attended the Writers Workshop). He taught English at Central State University in Ohio, then left the academic world for the private sector. His affiliation with publications such as JazzTimes, Stereophile, The New York City Jazz Record and DownBeat has enabled him to sustain active involvement in two of his passions: music and writing.