By Frank Alkyer | Published January 2026
There are few bass players working with the breadth, scope, energy and beauty of Swedish-born Björn Meyer. Convergence is Meyer’s second “solo” album for ECM after working as a key contributor with bands led by Anouar Brahem, Nik Bärtsch and other notables. Solo is in quotes because Meyer — along with producer Manfred Eicher — uses overdubs and studio effects so brilliantly. “Convergence,” the title tune, is a delight of groove with intricate overdubbing employed to make this singular artist sound like a full-on band. “Hiver” follows, and what a beautiful lullaby. The bass is not often thought of as a melodic instrument, but in Meyer’s hands his acoustic and electric six-string instruments melt your heart with his meditative, thoughtful phrasing. Take, for example, the tune “Motion,” with its repetitive, rapid-fire groove punctuated by beeps that sound like a sonic scientist sending out a signal in search of life. Meyer offers elements of classical chops as evidenced on the lovely “On Hope,” twinges of the avant garde as offered on “Rewired,” a love for more worldly twists as witnessed on “Magnétique” and intense noir romance as presented on “Nesodden.” At 60, Meyer is in total control of his art, presenting this music with soul, intelligence, a tinge of mischief and a barrelful of love. If you like Convergence, go back and check out Provenance, his beautifully recorded 2017 solo bass release for ECM. Both of these works are great listening from a master of his craft.
