“ ...with each instrument, they vary the timbres and ornaments, the tempi and the rhythmical interplay, as well as the harmonies that they push to the sonorities of rock, all while staying classical." (Yves Bernard, Le Devoir) Montreal-based ethno-classical Duo Beija-Flor explores the Spanish and Portuguese influence on classical music with COSTAS, their vibrant debut for Big Round Records. Charles Hobson and Marie-Noëlle Choquette form a highly expressive, versatile duo that is a force to be reckoned with. The twenty-two tracks on COSTAS appear to be bite-sized, but not only do they span a vast repertoire, they also pack a powerful punch individually. When Astor Piazzolla's only non-tango piece (Escualo) is contrasted with traditional Spanish folk songs (Siete Canciones Españolas) and motion picture soundtracks (Summer Garden Suite), it's not far-fetched to call this selection eclectic. All the more astounding, then, is Duo Beija-Flor's ability to tie this diverse program together, making it sound as if these pieces had always gone hand in hand. Occasionally, experimental elements are allowed in and incorporated into the flow of the album, such as the temporary, modernist dissonance in Boulevard San Jorge or the jazz harmonies in Havana Street Parade. And naturally, mirroring the dualist nature of the set-up, contrasts abound, not only in instrumental timbre and dynamics, but also in the music's character: Thus, the cheerful sweetness of Pé de Moleque and Quebra Quiexo (both aptly performed according to their title referencing Brazilian candy) is abruptly cut short by two dramatic fados pondering nothing less than the value of life. COSTAS attractively meanders between the light-footed and the profound, and the album's finale, Four Sephardic Songs, forms a majestic and evocative conclusion to an hour of music that is as vivacious, colorful and multi-faceted as the performing duo itself.

Composer and songwriter Elaine Freeman and Navona Records present LA SPERANZA, a careful selection of piano music, composed by ear, memory and touch without sheet music. Not quite classical, not quite pop, these pieces have the ability to appeal to both the casual listener and fans of musical minimalism. Structured around a central motive or rhythm, most of the works on LA SPERANZA seem to have an inner clock, an inner mechanism. The pieces' playability works in their favor, yet they pack an emotional punch: there's nostalgia, turmoil, grief, a quest for purpose, a struggle for beauty and clarity, all reflective of Freeman's life at various stages, and of the specific periods of their creation. The Composer claims to love all music regardless of genre, and this eclecticism definitely shows in LA SPERANZA. There's always the levity and catchiness of pop music, but one would be hard-pressed to sort the pieces into a definite category. More than anything, they are a unique expression of their inventor's inner world: generally calm and reflected, occasionally wistful and brooding, sometimes bright and soothing. Unconventionally, Freeman wrote all of these pieces by ear, and continues to play them as such. This results in a great spontaneity, forming a coherent whole with both the works' internal structure as well as the autobiographical background behind them.

Even though the tracks on BIRTH OF A CITY are loosely grouped by their titles, the recording is very much a concept album. Haney, himself an accomplished pianist who also studied composition, scored the pieces for a kind of string quartet (violin - viola - cello - double bass), interspersed by varying quantities of brass instruments and percussion. Naturally, as one would expect from this kind of music, all works are scored with exactitude – for the most part, that is. Remarkably, Haney grants the performers a great amount of improvisatory freedom – indubitably owing to his own background in jazz, the genre which definitely and definitively shines through in all his compositions. It is for this great freedom that all tracks – not only the eponymous Birth of a City, but also the Variations on a Theme as well as Improvisations on a Theme – come across as very dynamic, organic, free-spirited, occasionally even chaotic, all contributing to the impression that this is not a sterile recording of painstakingly thought-out music, but very much a living organism of several musicians' joint forces. And it is this liveliness that rouses interest and exudes the particular charm familiar to jazz audiences. Haney's benevolence towards his performers pays off a hundredfold. BIRTH OF A CITY is a testament to how musical thought can take and even shift shape in the hands of an ensemble, if only it is given the right amount of freedom.

If variety is the spice of life, A DIFFERENT TAKE adds a bowlful of zest to the idea of standard repertoire. On their debut album, the Gruca White Ensemble’s creative programming and energetic performance lead listeners on a journey through intermingled genres and out-of-the-box renditions of well-known tunes. Comprised of classical guitarist Robert Gruca and flutist Linda White, the Gruca White Ensemble draws from countless musical cultures, local composers, their own multifaceted experience as performers, and their unbridled creativity to create a unique blend of classical, world and rock music. A truly dynamic duo, Gruca’s colorful guitar tone and White’s command of a variety of flutes perfectly complement each other throughout every track. Keeping well in step with the vision of Big Round Records, A DIFFERENT TAKE leaves virtually no stone of genre unturned. The Gruca White Ensemble deftly tackles miniatures inflected with David Byrne grooves and traditional Japanese, African and Balkan music, with their interpretations of hits by such pop luminaries as Bill Withers and Stevie Wonder peppered in for good measure. Whether listeners are fans of funk, jazz, classical, or good-old rock and roll, this album is sure to satisfy.

Described by critics as beyond category, to use Duke Ellingtons signature compliment (All About Jazz), Japanese marimba extraordinaire Mika Stoltzman brings her wealth of experience to her latest Mikarimba album, Big Round Records Taperebá. Vibrant and bursting with flavor (just like the Brazilian fruit which the album derives its title from), the jazzy Taperebá features performances by Stoltzman and a circle of legendary fellow artists. With over 25 Grammy Awards shared between the members on this record, a memorable listening experience is practically guaranteed. Taperebá brings notable names from around the globe and a spectrum of musical experiences into one collection. Featuring the likes of Stoltzman, her husband and Grammy Award-winning clarinetist Richard Stoltzman, and a lineup including the legendary bassist Eddie Gomez, iconic percussionist Steve Gadd and his son Duke, and Brazilian mandolin great Hamilton de Holanda, the album leads audiences through a lighthearted yet technically spellbinding listening experience with just the right amount of flare. Each piece on the album was either written or arranged for Stoltzman, such as the Paul Simon classic 50 Ways to Leave Your Lover, arranged by Steve Gadd (who, not to mention, played drums on the original Simon version). From this, to Return to Bahia written specifically for Stoltzman by Bill Douglas, an arrangement of Chick Coreas Spain, and more, Taperebá altogether moves listeners through a kaleidoscope of 20th and 21st-century jazz, popular music, and more. Taperebá is many things: a collection of works by legends past and present, a celebration of rich and diverse styles, and a group of friends making beautiful music together. However one connects with the music most, Taperebá is an experience not to be missed.

New from Big Round Records comes jazz composer and pianist Paul Englishs Girl in Green. The album features never-before-heard renditions of immortal classics as well as Englishs original works. Listen as English and his cadre of masterful soloists carve a place for themselves in jazz history. Girl in Green is an album that was almost lost forever. Paul English recalls performing at the Texas Jazz Festival in 2000 with an extraordinary lineup of musicians accompanying him on stage. The magic was there, and the group booked two last-minute recording sessions at a nearby studio to capture it. Shortly afterward, the small record label English was signed with folded, and the recordings were locked away for nearly two decades until now. Girl in Green features the best takes from these recordings. English leads his players through legendary jazz tunes like Equinox by John Coltrane and Solar by Miles Davis. The album also features Englishs original works, including the title track, "Girl in Green." English demonstrates his virtuosity and knowing mastery of the jazz canon throughout the album; his tasteful piano work is grounded in tradition yet bears his unique signature. Paul Englishs Girl in Green captures the electric thrill of seven expert jazz cats collaborating in real time. Listeners of all ages and backgrounds will find themselves wrapped up in the rich humanity of these performances. Dont miss the chance to revel in these rescued treasures.

Fresh from Big Round Records comes the Cotatcha Orchestra’s BIGBANDOVÁ ELEKTRONIKA/BIGBAND ELECTRONICS. As its name suggests, this unprecedented album pairs original big band music with electronic music, concocting a sound—and perhaps even a brand new genre—that listeners have never heard before. Cotatcha Orchestra was the brainchild of trumpeter Jirí Kotaca. His founding mission was simple: play unusual and original big band music. From this seed grew the sound we hear today, a fascinating mix of jazz, Czech music, and electronic music. Rather than reaching for cheap novelty, however, Kotaca saw big band and electronic music as a natural combination. The latter element strengthens the band’s music, expands their emotive range, and carries them into the modern era. The names and themes of the compositions are not run-of-the-mill, either; Sardanapalm, for example, combines the name of the last Assyrian king with the explosive agent napalm, positing a thoughtful yet apolitical observation of the west’s involvement with the Middle East. The music is at once familiar and profoundly ethereal, combining muted jazz trumpet with an array of electronic sounds. Billy’s Pilgrimage is a musical interpretation of Kurt Vonnegut’s Slaughterhouse-Five, focusing on the main character, Billy. Piano and rhythmic elements, along with the airy, jazz-steeped voice of guest soloist Lenka Dusilová, form an interpretive soundtrack for Billy’s story. And, of course, there’s Very Old Lady Driving A Ferrari—a lighthearted musical imagining of an elderly speed-lover taking a summer drive in a sports car. Electric piano, drums, electronics, and an interjecting horn section put the listener firmly in the driver’s seat for this exhilarating ride.