Jaggat is a band that builds virtuosic sound bridges between chamber jazz and musical traditions from around the globe. Spanish, Indian, Arabic, African, and Latin American influences merge into a powerful and cohesive sonic tapestry, transcending cultural boundaries. The name�Jaggat-derived from Sanskrit for "world"-reflects the ensemble's mission: uniting the rich sounds of diverse cultures into a captivating musical journey rooted in openness and respect for diversity. Their new album demonstrates how tolerance and cultural exchange can give rise to something truly new and beautiful-in music as in society. By weaving together global rhythms, melodies, and traditions, Jaggat creates a sound that is unmistakably their own. At the heart of this musical dialogue are original compositions by guitarist�Markus Conrad�and double bassist�Caspar van Meel, seamlessly intertwined yet unmistakably marked by their individual voices. Percussionist�Afra Mussawisade�enriches the music with his unique instrumentation, laying down both a vibrant groove and a refined sonic foundation. Whether performing as a trio or expanding into a quartet with guest violinist�Christoph Konig, Jaggat unfolds a colorful and wide-ranging spectrum of sound. Their music reveals that diversity not only enriches but also inspires.

Welcome to the Sound House - a place of contemplation, curiosity, and discovery. Here, echoes of the Baroque intertwine with the unpredictable shimmer of electronics, as Miako Klein and Jia Lim traverse centuries of sound and imagination. Drawing inspiration from Francis Bacon's New Atlantis (1626), the duo reimagines the "sound-houses" he described - laboratories of resonance and invention - as a living metaphor for their own musical practice. At the heart of Nova Atlantis lies a dialogue between the historical and the experimental, between notation and improvisation, between gut strings and glowing LEDs. A Renaissance harpsichord replica hums beside recorders and baroque violins; beneath, a constellation of cables and pedals shape the music into new dimensions of color and texture. Klein and Lim explore the Doctrine of Affections through fresh ears, uncovering the rhetorical power of the old masters - Biber, Matteis, Buxtehude, Frescobaldi, Weckmann, and Schmelzer - and reanimating their spirit through the lens of the Stylus Fantasticus. Improvisation flows freely, merging the precision of early music with the spontaneity of modern sound art. The result is a sonic journey through past and present, where historical gestures resonate with electronic echoes, and the language of the Baroque is refracted through contemporary sensibilities.

Time slipping away, procrastination, nostalgia, resistance to the now, glimpses of the future, and the acceptance of mortality - these are the emotional and conceptual undercurrents that shape Borrowed Time, the new album by Dutch electronica artist Endorphins. Through oddly timed rhythms, bent melodies, fractured breakbeats, and immersive ambient passages, Thomas Heijmans crafts a soundscape that meditates on the elasticity of time and the tension between chaos and stillness.� Borrowed Time is both a reflection and a release - a journey that resists linearity and embraces impermanence.

RVB Quartet They bring a mix between rock and jazz which results in a refreshing sound. Interaction, improvisation and groove are the main ingredients that ensure vibrant compositions and crisp live performances. Hamabiwa The quartet feels like kings when they can play like children and let loose on their instruments. Hazel, Bibi, Marius (the little one) and Walt are the inspiration for this album.

Using different settings and combinations of saxophone, modular synths, EWI, drums and electronics, Jeroen and Stephane experience live music in an interactive context. The multiple horns, overdubs, drums and electronics are the platform for exhilarating dialogues about themes and metrics. The result is both heady and groovy, music that can be analyzed or danced to.

Using different settings and combinations of saxophone, modular synths, EWI, drums and electronics, Jeroen and Stephane experience live music in an interactive context. The multiple horns, overdubs, drums and electronics are the platform for exhilarating dialogues about themes and metrics. The result is both heady and groovy, music that can be analyzed or danced to.

The songs we sing give words to personal experiences from our lives. Some have been part of our individual repertoires for years. Others we wrote together. But as applicable as they are to our own personal situations, they now feel more than anything like Goleine songs. When you make music together, share life experiences and beliefs, you get to know each other very well. It's beautiful how a song can transform through a new collaboration. It breathes differently, reinvents itself, and creates a sense of belonging. That's what we've found in each other-a musical family.

On this album, Bram Stadhouders and The Big Barrel Organ guitarist Stadhouders plays the biggest transportable dancehall organ in the world, The Rhapsody, using guitar and MIDI, mixing composition and pure improvisation. The musician is the first in the world to do this, which is why he can be called the first dancehall organ guitarist. It is a crazy and adventurous project. The history of dancehall organs goes back to 1850, when the first dance organs were made. In Belgium and the south of Holland especially, the organ became immensely popular as a precursor of the jukebox. In cafes, fairs and dancehalls, the organs were playing the latest hits. Besides the many organ pipes, dance organs are often equipped with extra instruments such as accordions, percussion and saxophones. Stadhouders writes: “When composing contemporary music for these organs, you hear totally unique sounds, a mix between electronic and acoustic sounds. The dance-organ is really the first synthesizer. The way we choose sounds on any synthesizer is derived from the barrel organ.”

Dynamic live recording from Amsterdam's Bimhuis! Corrie van Binsbergen has a very broad musical background; her characteristic style is a synthesis of jazz, rock, and improvised music. During her career she has received the prestigious VPRO/Boy Edgar Prize and been nominated for the Amsterdam Art Prize.

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