Miroslav Vitouš, Michel Portal, Jack DeJohnette – ‘Mountain Call’

Key Takeaways

• Vitouš blends acoustic bass with his own Philharmonik software.
• Duets with Portal showcase extended clarinet techniques and counterpoint.
• DeJohnette collaborations add rhythmic depth despite lacking harmonic instruments.
• Orchestral samples blur line between real orchestra and digital library.
• Album release delayed 16 years, making sessions historically precious.

Summary

Czech bassist Miroslav Vitouš releases “Mountain Call” on ECM, featuring duets with late clarinetist Michel Portal and longtime collaborator Jack DeJohnette. The album mixes intimate acoustic duets with digitally‑crafted orchestral textures generated by Vitouš’s own Miroslav Philharmonik sample library. Recorded over 2003‑2010, the 16‑year‑delayed release showcases Portal’s expressive clarinet/bass clarinet work, DeJohnette’s rhythmic interplay, and guest appearances by Esperanza Spalding, Bob Mintzer and others. While the pieces are brief, the record highlights Vitouš’s ability to merge live improvisation with realistic orchestral sampling.

Pulse Analysis

Miroslav Vitouš has been a pivotal figure in modern jazz since the late 1960s, co‑founding Weather Report and pioneering the use of digital orchestration through his Miroslav Philharmonik software. “Mountain Call,” his latest ECM offering, leverages that technology to layer sampled strings, brass, and choir beneath his acoustic bass, creating a seamless hybrid soundscape. By integrating a proprietary sample library that features recordings of real classical musicians, Vitouš blurs the line between live ensemble and computer‑generated orchestration, offering listeners a richly textured backdrop without sacrificing the spontaneity of improvisation. This approach reflects a broader trend where jazz artists adopt production tools traditionally reserved for film scoring and pop.

The record’s core strength lies in its intimate duets. Vitouš and the late Michel Portal trade rapid melodic fragments, employing extended techniques such as flutter‑tonguing, glissandi, and percussive bass slaps that turn each conversation into a miniature narrative. Meanwhile, Jack DeJohnette’s partnership with Vitouš injects kinetic energy, turning rhythm sections into harmonic suggestion despite the absence of chordal instruments. Guest contributions—from Esperanza Spalding’s airy vocalizations to Bob Mintzer’s bass‑clarinet timbres—add further color, while the occasional orchestral swells amplify emotional peaks. These interactions illustrate how seasoned improvisers can extract maximal expression from limited timbral palettes.

Although the material was recorded between 2003 and 2010, ECM waited sixteen years to release it, a decision that inadvertently turned the album into a posthumous tribute to Portal (who passed in February 2026) and DeJohnette (October 2025). The delayed launch underscores the market’s appetite for archival jazz projects that combine historical significance with cutting‑edge production. For emerging musicians, “Mountain Call” serves as a blueprint for marrying analog virtuosity with digital realism, suggesting new revenue streams through sample‑based compositions. As streaming platforms reward niche, high‑quality releases, Vitouš’s hybrid model may inspire a wave of similarly crafted jazz recordings.