The Munich Connection
o say that there is a single ECM Records sound is to oversimplify a catalog that now encompasses more than 1,600 albums. One suspects that if the late Jan Erik Kongshaug, who engineered hundreds of those albums, were still with us, he’d coolly dispute such a statement with a nuts-and-bolts response, pointing out the many different models of microphones he used over the years, how he placed them in different positions in different studios and enhanced their output with different types of reverb units. All true enough. But even so,
