TILTxFNST

 
2025.06.22 SUN
ECM Section : Outer Edge of Silence
고요의 가장자리

*FREE ENTRANCE / 무료입장

많은 이들이 ECM을 고요하고 정제된 사운드의 상징으로 기억합니다. 하지만 Tilt에서는 그 표면보다는, 음 사이의 여백과 구조의 가장자리에 주목하며, ECM을 중심에서가 아니라, 가장자리에서부터 청취해보고자 합니다. 그 출발선에 선 연주자는, 늘 그 경계에 서 있었던 토마시 스탄코(Tomasz Stańko)입니다.

Tomasz Stańko
경계에 머무는 음들

폴란드 출신의 트럼페터 토마시 스탄코(Tomasz Stańko)는 ECM 안에서도 언제나 중심에서 한 걸음 비켜나 있던 연주자입니다. 그의 음악은 음 사이의 간격에 집중하고, 소리의 흐름보다는 멈춤과 여백에 반응합니다. 우리가 듣게 되는 것은 선율보다 공간, 구조보다 그 틈에서 감지되는 정서입니다.

Stańko는 1990년대 ECM으로 돌아와 두 개의 주요 쿼텟을 통해 자신의 미학을 확장했습니다. 하나는 어둡고 무거운 슬라브 서정을 품은 유럽 쿼텟, 다른 하나는 젊고 유연한 폴란드 리듬 섹션. 두 쿼텟 모두 서정성과 고요함, 그리고 구조의 가장자리에서 작동합니다.

Tilt는 『Matka Joanna』, 『Leosia』, 『Suspended Night』 세 작품을 통해 Stańko가 감정과 공간, 구조의 경계에서 연주하는 방식을 청취하며, 그 지점을 이번 큐레이션의 출발점으로 삼습니다. 

우리는 형태보다 정서가 우선되는 경계의 감각을 따라, ECM의 가장자리로 향합니다.

⸻

1:00PM 『Matka Joanna』[1994]

“Monastery In the Dark” 이후, 음악은 그림자 안에서 울린다.

1961년 동명의 폴란드 영화, 천사들의 수녀 요안나(Mother Joan of the Angels) 에서 영감을 받은 이 앨범은 종교적 억압과 심리적 유혹의 테마를, 사운드의 흑백 대비로 구현한다. Stańko는 트럼펫을 ‘비추는’ 대신 ‘숨기며’ 연주한다. 그의 톤은 음산하고 서정적이며, 촛불 같은 음이 시간 속에서 천천히 녹아내린다.

토니 옥슬레이(Tony Oxley) 의 드럼은 리듬을 제공하지 않고 대신 삐걱거리고 덜그럭거리며, 질감 그 자체가 된다. 보보 스텐슨(Bobo Stenson) 의 피아노는 움직이지 않는 선율로 감정의 잔상을 이끌고, 안데르스 요르민(Anders Jormin) 의 베이스는 벽 속 생명처럼 기묘한 밀도를 만든다.

이 앨범은 Stańko의 ECM 리더작 복귀이자, “소리로서의 고요”를 선언한 첫 페이지다.
 

⸻

4:00PM 『Leosia』[1997]

가장 어두운 마일스 데이비스보다 어두운, 멜랑콜리한 지평선.

『Matka Joanna』보다 한층 더 내면으로 침잠한 『Leosia』는 서정성의 끝자락에서 고요를 끌어안는 음악이다. 트럼펫은 낮고, 길고, 거의 부유하듯 지속되며, 그 자체가 하나의 ‘생각’처럼 들린다.

토니 옥슬레이(Tony Oxley)는 이 앨범에서 최소한의 소리로 최대한의 여백을 만든다. 금속을 때리거나 브러시를 스치며, 리듬이 아닌 분위기의 조건을 구성한다. 피아노는 구조만을 드러내며 절제되어 있고, 베이스는 낮고 조용하게, 그러나 단단히 음악의 바닥을 형성한다.

『Leosia』는 슬라브 정서의 가장 끝에 닿아 있으며, 여백과 고립, 그러나 미세한 낙관이 공존하는 ECM 사운드의 본질을 요약한다.

⸻

8:00PM 『Suspended Night』[2004]

한밤중의 변주. 고독은 나누어진다.

Stańko는 2000년대 초, 마르친 바실레프스키 트리오(Marcin Wasilewski Trio) 와 함께 또 하나의 ECM 시리즈를 시작한다. 『Suspended Night』는 그 두 번째 결과로, 『Soul of Things』보다 더 깊은 밤으로 걸어 들어간다.

이번에는 트럼펫이 약간 더 선명하게 드러나지만 여전히 그 음색은 ‘사이’를 말하며, 음보다 여백을, 멜로디보다 구조의 틈을 연주한다. 베이스와 드럼은 그리드를 거의 제공하지 않고, 피아노는 키스 재럿(Keith Jarrett) 처럼 인상주의적이되 더 건조하고 내성적이다.

전체 트랙은 제목 없는 ‘Variation’으로만 구성되며, 이는 서사의 포기를 의미하지 않는다. 오히려 각각이 ‘상태’이자 ‘감정의 층’으로 작동하며, Stańko 음악의 본질 “지속되는 부재”를 형상화한다.
 
 
 
2025.06.22 
ECM Section : Outer Edge of Silence
 
Many remember ECM as a symbol of quiet, refined sound. But at Tilt, we listen not to its surface, but to the spaces between the notes, the outer edges of structure. Rather than approaching ECM from the center, we begin from its periphery. And standing at that threshold is a musician who has always dwelled at the margins: Tomasz Stańko.

Tomasz Stańko
Sounds That Linger at the Edge
 
Polish trumpeter Tomasz Stańko has always stood slightly apart from the center of ECM’s catalog. His music doesn’t rush through melody but lingers in the spaces between notes, responding more to silence than to flow. What we hear is not so much the melody as the atmosphere, not the structure but the emotion that emerges in its gaps.
 
Returning to ECM in the 1990s, Stańko expanded his aesthetic through two distinctive quartets— One, a European ensemble steeped in dark Slavic lyricism; The other, a younger, more fluid Polish rhythm section. Both work at the edges of lyricism, stillness, and form.
 
Through Matka Joanna, Leosia, and Suspended Night, Tilt traces Stańko’s approach to playing at the edge of emotion, of space, of structure and takes this as the starting point of today’s curation.
 
Following a sensitivity where emotion takes precedence over form,we move toward the edges of ECM.

1:00PM 『Matka Joanna』[1995]
 
After “Monastery In the Dark,” the music begins to echo in shadow.
 
Inspired by the 1961 Polish film of the same name, this album explores themes of religious repression and psychological temptation through stark contrasts of sound—like black and white in cinema. Rather than shining through, Stańko’s trumpet plays as if hidden. His tone is somber, lyrical, flickering like candlelight slowly melting through time.
 
Tony Oxley’s drums don’t provide rhythm so much as creak, clatter, and become texture. Bobo Stenson’s piano evokes afterimages of feeling, not melodic movement. And Anders Jormin’s bass creates an uncanny density, like life pulsing inside a wall.
 
This was Stańko’s return as an ECM bandleader and his first declaration of silence as sound.

4:00PM 『Leosia』[1997]
 
Darker than even the darkest Miles Davis—this is a melancholic horizon. More introspective than Matka Joanna, Leosia embraces quiet at the furthest edge of lyricism. The trumpet is low, long, almost weightless—less a phrase than a thought hanging in air.
 
Oxley creates maximum space with minimal sound, tapping metal, brushing surfaces—not building rhythm, but shaping mood. The piano is restrained, outlining only the skeleton of structure. The bass plays low and quietly, yet grounds the music with firm subtlety.
 
Leosia touches the outermost edge of Slavic melancholy, capturing the essence of the ECM sound—space, solitude, and a fragile sense of hope.

8:00PM 『Suspended Night』[2004]
 
A nocturnal variation. Solitude, shared. In the early 2000s, Stańko began a new ECM chapter with the Marcin Wasilewski Trio. Suspended Night is the second result—deeper in the night than Soul of Things.
 
The trumpet is a bit clearer this time, but still speaks in between the tones playing absence more than presence, structure more than melody. Bass and drums rarely offer a steady grid. The piano, reminiscent of Keith Jarrett, is impressionistic yet drier, more introspective.
 
The album consists solely of untitled Variations—not a rejection of narrative, but a shift: each track becomes a state, a layer of emotion. Together, they embody the core of Stańko’s art: “the persistence of absence.”