Jenna Nyman

Isabel Berglund

It's Never Over is a collaborative project featuring British-Nigerian singer-songwriter Ola Onabul�, whose extensive career includes work with major European big bands and critical acclaim for his vocal range and songwriting. The album is recorded with the Hazelrigg Brothers, recognized for their chamber jazz arrangements and technical expertise, and includes seven original compositions by Onabul� alongside a cover of Prince's "Condition of the Heart." The repertoire blends elements of jazz, soul, world music, and pop. The release aligns with Aliud Records' focus on immersive, unembellished audio production and supports cross-genre market reach. It is supported by an official launch concert at the Sendesaal in Bremen, with further tour dates planned. The album's artist lineup and label reputation provide an opportunity for positioning within both the jazz and broader contemporary music markets.

Irma Neumuller & Seth Sjostrom are two Swedish jazz musicians and composers based in Berlin. Their collaboration began as early as 2020 at Skurups Folk High School, where they quickly connected through their shared love of jazz and improvisation. In this project, they come together in an intimate duo setting, interpreting jazz standards, original compositions, and selected favorites from the Swedish pop and folk music repertoire. The contrasts between Irma and Seth-both as musicians and as individuals-are explored. The result is a unique and intimate sound that sheds new light on both the compositions and themselves. Over the past few years, Irma and Seth have performed in various ensembles across Sweden and the rest of Northern Europe, and both have made a name for themselves on the Nordic jazz scene.

Linnea Jonsson

Linnea Jonsson

Recorded live in concert at the Krematoriet, Stockholm, on 12 October 2024. Recorded by Adam Forkelid. Mixed and mastered by Klaus Scheuermann, 4ohm Berlin. Photos by Joona Toivanen (front cover) and Fredrik Gille. Cover design by Jonas Holmberg

Recorded live in concert at the Krematoriet, Stockholm, on 12 October 2024. Recorded by Adam Forkelid. Mixed and mastered by Klaus Scheuermann, 4ohm Berlin. Photos by Joona Toivanen (front cover) and Fredrik Gille. Cover design by Jonas Holmberg

When Goteborg Jazz Orchestra (GJO) - and the founders Mats Eklund and Johnny Olsson - laid out plans for the band's Monday night concerts for 2021 they came up with the concert series "Swedish Jazz Heroes", playing the music and telling the story of the role models who have shaped Swedish jazz of today. They came across the trombonist Eje Thelin and his last work, the suite Raggruppamento. The suite was firts performed and recorded live by the Radiojazz gruppen (RJG) in 1989 in the presence of Eje, but since he himself was too ill, he chose to let guitarist Goran Klinghagen play his feature parts and solos.

Stina Hellberg Agback - harp Filip Augustsson - double bass Jon Falt- drums

The music on this album reflects upon and responds to the state of the world it's wars, polarization, and climate change. It fills me with melancholy and sorrow, yet within this darkness, I also see hope through the people I encounter in my life and the power of the positive initiatives that still take place. Hope grows in intimate conversations, in the creative space of music where we intuitively understand each other through listening, in children's play, and in resistance against narrow-mindedness. In the resilience of nature, society, and people during this uncertain time of change. Photographer Anders Petersen has generously allowed me to use his image Hamburg as the album cover. To me, the image speaks of an unfathomable moment of mutual connection of resonance in the midst of everyday life. And perhaps hope lies precisely there, in our wonder and resonance with the world around us. Three compositions Ruins, Evening Hymn, and With Hope draw inspiration from traditional hymns of Gammelsvenskby in Ukraine. Parts of the theme in Arctic Call are based on phrases from an Inuit drum song from Greenland, and the original idea for Woods in Blue comes from a polska from Harjedalen, Sweden. The closing piece, O Magnum Mysterium by Francis Poulenc, was originally written for soprano solo and choir.

TIGER'S DEN marks the debut of Swiss composer and bandleader Jan Dintheer - a bold, intricate, and deeply personal statement that blends conceptual structure with spontaneous energy. Written entirely for his own Large Ensemble, this album unfolds as a journey through imagination, curiosity, and discovery - a sonic expedition into unexplored territory. Rooted in Dintheer's fascination with large-scale jazz composition, the music fuses rhythmic complexity and lyrical intensity. Tracks like Unvollkommenes Beryllium and Langsgeteilte Dringlichkeit draw on conceptual techniques such as "cellular composition," while pieces like Flug Frohmut or 5 vor 12 capture moments of emotional immediacy - from the thrill of skydiving to reflections on global unrest. At the heart of it all lies Tiger's Den, the title piece - a mysterious, winding journey that builds from introspective bass clarinet passages to an explosive climax, evoking the courage to step into the unknown. The album closes with Shepard's Pie, whose "Shepard rhythm" illusion gives the impression of perpetual acceleration, bringing the listener full circle in a seamless narrative arc. Dintheer's writing displays a rare equilibrium between intellect and instinct. The ensemble - a vibrant collective of 19 musicians - brings the compositions to life with warmth, detail, and vitality. The result is an album that's at once architecturally precise and deeply human.

Peter, Marc, Roland, and I came together for the first time in 2015 to start working on my ideas for this new quartet. Over the past ten years, we four became more and more familiar, both musically and personally. Even if something unexpected happens while playing, we usually find a good way to handle it. There is no fear-but trust. In my opinion, this is the most important foundation for developing musical expression and an individual band sound. Discovery of Lightness is our third album. But despite what you might associate with the album title, this seems to be the most challenging stuff we've worked on so far.

Polyphony, contrast, expression - these timeless Baroque qualities find new life in Klara Cloud's latest work with The Vultures. This album unfolds as a deeply human journey through emotion, memory, and rebirth - a musical tale spanning from the first spark of life to the quiet afterglow of death. Each track opens a new chapter of introspection and feeling, the serene melancholy of Peony blossoms beside the flowing energy of Waterfalls, Se Tu Me Dimentihi brings Pablo Neruda's poetry to life, while Funeral transforms loss into light - a meditation on the kind of silence that already knows the way forward, at it's heart shines Stephanie - a symbol of endurance and wonder - framed in a soundscape as vivid and intricate as a Baroque painting. With contributions from an ensemble of masterful musicians - Mateusz Smoczynski (violin), Mateusz Gaweda (piano), Adam Tadel (double bass), Piotr Budniak (drums), and guest violinist Bartosz Dworak - Cloud's vision achieves both intimacy and grandeur. Produced by Klara Cloud and recorded in Poland's Sound & Wave Studio, this record captures the essence of transformation: fragile yet fearless, lyrical yet raw. Dedicated to her children, Stefania and Julian, the album stands as both a personal diary and a universal reflection - an echo of beauty born out of silence.

Pianist Andreas Feith and saxophonist Markus Harm present their second duo album "Abstract Truth", a deeply connected and artistically evolved follow-up to their debut "What's New". Over years of collaboration-from early days in Rebecca Trescher's ensemble to intensive duo sessions-their musical bond has grown into a rare and expressive synergy. Unlike their spontaneous first recording, this album is the result of careful composition and preparation, reflecting a new level of artistic freedom grounded in jazz tradition. Their interplay is intuitive, multilayered, and emotionally rich, balancing improvisation with melodic sensitivity. "Abstract Truth" showcases this connection through original compositions and reimagined standards, culminating in a diverse and emotionally resonant statement. Tracks like "Calm", "Tune For K", and "Smoke Gets In Your Eyes" reveal a duo in perfect harmony-free, expressive, and rooted in shared musical trust.

This is his third album, but he is only 23 years old. No question about it: Mathieu Clement, the drummer, composer and arranger from Luxembourg, goes his way unswervingly.�Stylistically, the drummer also moves with this septet on a tried-and-tested basis. The watchword is "straight ahead." Clement is basically oriented toward the achievements of those jazz currents that developed in the mid-1950s and resulted in mainstream varieties.

The title "Awaking" carries a double significance. On the one hand, it refers to the musical awakening that marks my artistic journey; on the other, it reflects the collective awakening that marked the end of the Corona pandemic. I hope that "Awaking" reflects not just the sound of my music, but my appreciation of all the people who have shared this creative path with me.

Stratus is the stunning new quartet album from violinist Zach Brock and pianist Phil Markowitz, joined by Finnish jazz standouts Jaska Lukkarinen and Ville Herrala. Recorded in the peaceful setting of Sipoo, Finland, the album blends lyrical improvisation, intricate composition, and intuitive interplay into a cohesive, deeply expressive whole. From lush ballads to dynamic rhythmic journeys, Stratus showcases the quartet's chamber-like sensitivity and jazz-rooted spontaneity. Brock and Markowitz, building on their earlier collaboration Perpetuity, offer a seamless musical conversation elevated by a rhythm section that listens and leads in equal measure. A rich, genre-blurring project, Stratus is both intimate and expansive an exploration of sound grounded in trust, nuance, and shared vision.

There are good reasons why the names of all those involved in this album are listed as equal partners. "Moving Times" is the result of real teamwork and is the first production of a newly formed group in which everyone acts on an equal footing. This is not self-evident, because singer Esther Kaiser and guitarist Axel Fischbacher represent two established big names in the German jazz scene, who have been independently leading their own bands for many years and have released a large number of their own albums. The two belong to different generations while bassist Genevieve O'Driscoll and drummer/vibraphonist Michael Knippschild represent another one. That means three generations, two women and two men, and it fits as if there were nothing more normal in the world.

The carefully arranged connection between the international Arthur Possing Quartet from Luxembourg and Joel Rabesolo from Madagascar is a real stroke of luck, as the joint album Homes demonstrates. It is no coincidence that it almost overflows with captivating pieces and diverse music during approximately 70 minutes of playing time.� Instead of a random of tracks, the combination of pieces is designed to create a concise whole. As a result, Homes becomes a real listening journey.