With This is not David Bowie, the Yuri Honing Acoustic Quartet does not present a traditional tribute, but a personal reflection on what Bowie represented: freedom, transformation, and the courage to cross boundaries. For Yuri Honing, Bowie was an early source of inspiration not only musically, but above all through his uncompromising drive to reinvent himself. That same spirit runs through Honing's own work, shaped by jazz, improvisation, visual art, literature, pop, rock, classical music, non-Western traditions, and electronics. The quartet reapproaches Bowie's music through it's own language. Using fragments of compositions, harmonies, atmospheres, and ideas as starting points, the musicians create new interpretations in which melodies may remain recognizable or only the spirit of a song lingers. This project is therefore not about imitation or nostalgia. It is about curiosity, imagination, and the ongoing search for new artistic connections. Just as Bowie continually opened new worlds, the Yuri Honing Acoustic Quartet explores how music can keep moving forward without losing it's identity.

On Daydreaming, Italian saxophonist and composer Carla Marciano transforms memory, grief and love into an intensely personal musical journey. Dedicated to her father Giovanni, the album reflects the profound bond between father and daughter and the lifelong passion for music he inspired in her. Marciano's compositions move between intimate reflection, lyrical beauty and powerful improvisation. Her alto and sopranino saxophones are joined by her long-standing quartet (Alessandro La Corte, Aldo Vigorito and Gaetano Fasano with Dario Deidda appearing on acoustic bass). Several pieces are further enriched by the Philharmonic Orchestra of the 'Giuseppe Verdi' Theater in Salerno, conducted by Antonio Sinagra. Created during a period marked by the loss of both parents and Marciano's recovery from a serious road accident, Daydreaming is also a testimony to resilience and renewal. The music evokes childhood memories, shared songs, imagined embraces and the enduring presence of loved ones. It is an album about absence, but above all about gratitude, courage and a love that continues beyond time.

With this new release, Reinhardt Winkler and his outstanding ensemble present a deeply expressive journey through selected Jazz Standards- performed with elegance, sensitivity, and remarkable musical depth. This is music that breathes naturally. Every note is played with intention, every interaction shaped by mutual listening, trust, and pure musicality. Rather than simply interpreting standards, the musicians celebrate them with warmth, sophistication, and an unmistakable sense of atmosphere. The quartet creates space for one another, allowing the music to unfold with authenticity and emotional honesty. At the center of the ensemble's flowing interplay is Reinhardt Winkler's drumming- combining subtle groove, refined touch, and deep musical sensitivity. With understated rhythmic intuition and an elegant sense of space, his playing guides the music naturally, always serving the collective sound while giving it momentum, warmth, and quiet intensity. The result is an album full of nuanced dynamics, refined interplay, and genuine artistic dedication.

With This is not David Bowie, the Yuri Honing Acoustic Quartet does not present a traditional tribute, but a personal reflection on what Bowie represented: freedom, transformation, and the courage to cross boundaries. For Yuri Honing, Bowie was an early source of inspiration not only musically, but above all through his uncompromising drive to reinvent himself. That same spirit runs through Honing's own work, shaped by jazz, improvisation, visual art, literature, pop, rock, classical music, non-Western traditions, and electronics. The quartet reapproaches Bowie's music through it's own language. Using fragments of compositions, harmonies, atmospheres, and ideas as starting points, the musicians create new interpretations in which melodies may remain recognizable or only the spirit of a song lingers. This project is therefore not about imitation or nostalgia. It is about curiosity, imagination, and the ongoing search for new artistic connections. Just as Bowie continually opened new worlds, the Yuri Honing Acoustic Quartet explores how music can keep moving forward without losing it's identity.

Three years ago, Careless Territories was an invitation to travel. It reflected a musical curiosity that willingly wandered across styles, moods and influences, allowing each composition to find it's own destination. Looking back, I realize that album was less about defining a musical identity than about embracing the freedom of discovering one. Straight Down the Middle was born from an almost opposite intention. Rather than broadening the horizon, I felt the desire to narrow the focus. This record is the result of a conscious decision to immerse myself in one musical language that has fascinated me for years: the modern post-bop tradition. It is a repertoire, an aesthetic and a way of thinking that continue to inspire me, yet one that remains relatively uncommon on the European jazz scene. Instead of searching for variety, I wanted to explore the richness that comes from commitment to write music that lives unapologetically within this tradition while allowing my own voice to emerge naturally. With the exception of Every Single Time, which briefly steps outside the frame, every composition on this album embraces that artistic trajectory. Hence the title: Straight Down the Middle. More than anything, this album is a tribute to the composers, improvisers and recordings that have shaped my musical imagination over the years, but also to Phil Abraham, Amaury Faye, Clement Daldosso and Raphael Pannier, whose generosity, trust and musicality brought these compositions vividly to life. If this record conveys anything, I hope it is the simple pleasure of five musicians sharing a language they deeply love, while adding, with humility, one more conversation to a tradition that continues to evolve.

On Daydreaming, Italian saxophonist and composer Carla Marciano transforms memory, grief and love into an intensely personal musical journey. Dedicated to her father Giovanni, the album reflects the profound bond between father and daughter and the lifelong passion for music he inspired in her. Marciano's compositions move between intimate reflection, lyrical beauty and powerful improvisation. Her alto and sopranino saxophones are joined by her long-standing quartet (Alessandro La Corte, Aldo Vigorito and Gaetano Fasano with Dario Deidda appearing on acoustic bass). Several pieces are further enriched by the Philharmonic Orchestra of the 'Giuseppe Verdi' Theater in Salerno, conducted by Antonio Sinagra. Created during a period marked by the loss of both parents and Marciano's recovery from a serious road accident, Daydreaming is also a testimony to resilience and renewal. The music evokes childhood memories, shared songs, imagined embraces and the enduring presence of loved ones. It is an album about absence, but above all about gratitude, courage and a love that continues beyond time.

With A New Beginning In This Cold Season, Belgian vocalist, composer and performer Natashia Kelly presents a poetic and deeply atmospheric album about transition, resilience and renewal. Across seven original compositions, Kelly turns toward landscapes, weather, animals and natural forces to explore inner movement: fear and hope, darkness and clarity, fragility and strength. Rooted in jazz yet open to soul, gospel, spoken word and contemporary groove-based music, the album creates an intimate sound world in which lyricism and improvisation meet. Kelly's warm, expressive voice is supported by Benjamin Sauzereau on electric and acoustic guitar, Yannick Peeters on double bass, and Dre Pallemaerts on drums and kanjira. Together they shape music that feels both delicate and grounded, moving naturally between hushed reflection and subtle rhythmic energy. The album's title track sets the tone with the image of a cold season as both a literal and emotional landscape. Throughout the record, recurring images of wind, wings, clouds, horses, moonlight and storms become symbols of change and endurance. Rather than confronting the turmoil of the world through slogans, Kelly searches for meaning in nature, finding beauty, movement and quiet strength in the face of uncertainty. Concise yet rich in ideas, A New Beginning In This Cold Season offers seven songs in just over half an hour. It is a focused, refined and emotionally resonant statement from an artist whose music balances vulnerability with power, and whose storytelling invites the listener into a shared space of reflection, healing and hope.

With Every Petal Tells a Story, guitarist and composer Tiago Lageira presents an intimate musical portrait of love, commitment and the transformation of becoming a parent. Rooted in personal memory, the album unfolds like a sequence of emotional chapters: from the first spark of romance to marriage, from expectation to birth, and from uncertainty to the overwhelming discovery of a love growing beyond oneself. Lageira's music carries the imprint of several worlds. Born in Portugal and shaped by the traditions of Fado and Brazilian rhythm, he later immersed himself in Amsterdam's jazz scene, absorbing the language of improvisation, harmony and storytelling. His playing combines melodic sensitivity with rhythmic fluidity, bringing together Portuguese lyricism, modern jazz colours and a deeply personal sense of narrative. Across seven original compositions, Every Petal Tells a Story invites a rich cast of voices and instrumental guests. The album features Vanessa Torrens Juaneda, Anna Serierse, Hermine Deurloo, Jina Sudemi, Iris Feijen and Marisa Petraglia, each adding a distinct shade to Lageira's musical world. From the atmospheric opening of 'Under the Shadow of the Lotus' to the reflective closing piece 'Futuro Incerto,' the album moves through tenderness, wonder, doubt and devotion. The title reflects the album's essence: every moment, every memory and every fragile detail carries meaning. Like petals gathered from different seasons of life, these compositions form a story of love in bloom: vulnerable, resilient and profoundly human. Every Petal Tells a Story is both a personal dedication and a universal invitation: to listen closely to the quiet turning points that shape our lives, and to hear in them the music of becoming.

With Rain, Flowers and New Beginnings, trumpeter, composer and bandleader Maik Krahl presents a deeply personal and beautifully balanced album about growth, change and resilience. Inspired by the idea that no flower blooms without rain, the music reflects the quiet strength that can emerge from difficult seasons, transforming experience into sound with warmth, clarity and lyrical depth. Krahl's trumpet playing is marked by a rich, flexible tone, elegant phrasing and a calm emotional intensity. Across the album, he moves through spacious, melodic landscapes, playful rhythmic passages and moments of reflective stillness, always maintaining a sense of openness and natural flow. His compositions are adventurous yet grounded, shaped by contrast, silence and release. The album features an exceptional ensemble: Constantin Krahmer on piano, Jakob Kuhnemann on bass, Fabian Rosch on drums and glockenspiel, and Tamara Lukasheva on vocals. Together, they bring Krahl's music to life with sensitivity, imagination and a strong collective voice. From the opening 'Blue Dots Descending' to the closing 'The Journey of Serenity,' Rain, Flowers and New Beginnings unfolds like a musical meditation on renewal. It is an album about what is endured, what is absorbed, and what eventually blossoms.

With Rain, Flowers and New Beginnings, trumpeter, composer and bandleader Maik Krahl presents a deeply personal and beautifully balanced album about growth, change and resilience. Inspired by the idea that no flower blooms without rain, the music reflects the quiet strength that can emerge from difficult seasons, transforming experience into sound with warmth, clarity and lyrical depth. Krahl's trumpet playing is marked by a rich, flexible tone, elegant phrasing and a calm emotional intensity. Across the album, he moves through spacious, melodic landscapes, playful rhythmic passages and moments of reflective stillness, always maintaining a sense of openness and natural flow. His compositions are adventurous yet grounded, shaped by contrast, silence and release. The album features an exceptional ensemble: Constantin Krahmer on piano, Jakob Kuhnemann on bass, Fabian Rosch on drums and glockenspiel, and Tamara Lukasheva on vocals. Together, they bring Krahl's music to life with sensitivity, imagination and a strong collective voice. From the opening 'Blue Dots Descending' to the closing 'The Journey of Serenity,' Rain, Flowers and New Beginnings unfolds like a musical meditation on renewal. It is an album about what is endured, what is absorbed, and what eventually blossoms.

With their neww album Tolstoy, Too Noisy Fish, the trio of Peter Vandenberghe (piano, compositions), Kristof Roseeuw, and Teun Verbruggen, opens a new chapter full of freedom and adventure. The moves effortlessly between composition and improvisation, between order and chaos, between what is planned and what emerges in the moment. Too Noisy Fish first made it's mark in the Belgian jazz landscape in 2011, when the rhythm section of the Flat Earth Society Orchestra decided to start pushing boundaries as a trio too. They created four albums, including 'Too Many Fish: 10 Years Too Noisy Fish', a record celebrating the ten year anniversary of the trio by inviting musician and artist friends to join them in the studio and on stage. With their upcoming album, they are once again establishing themselves as a singular trio. The band shows how music can be at once profound and light, sharp and open-hearted, fully in line with the seeming contradictions that are rife in Tolstoy's work. Each piece is a journey, unpredictable, honest, and full of twists, with freedom and adventure as the compass, and no fixed destination. The compositions breathe literature: melodies unfold like sentences, rhythms collide like characters, harmonies pose questions rather than giving answers. Too Noisy Fish remains true to it's distinctive sound world: incisive, playful, unsettling, yet always imbued with deep human warmth. On Tolstoy, the music moves freely through space, silence, humor, and melancholy. An album about the lust for life, choices, and the endless search for meaning; in sound, in silence, in freedom.

For the past six years, flutist Alex Hamburger and pianist Jose Luiz Martins have been the heartbeat of each others' musical worlds. Now, with their debut record as a duo, the husband and wife create a shared world, offering listeners a highly personal, textural immersion into the sonic catalog of their journey. The two musical prodigies were originally on divergent paths when they first met in 2018 during coincidental time abroad in Basel, Switzerland. Hamburger, originally from the Washington, D.C. metro area, was living previously in New York City, while Martins was studying for a masters in Basel after leaving his hometown of Sao Paulo, Brazil. Their first shared notes snapped their lives together, ushering in an instant connection and understanding, both about the music that influenced them and the music they wished to put in the world. Together, the partners found a deeply rooted shared commitment to using space, listening, and empathetic reaction to dive into the unknown and return with beauty and compassion. Now living together in Hyattsville, Md., Hamburger and Martins recorded Catalog of Dreams in 2025 as a response to the diverse range of musical traditions that shaped them, both as individuals and as a pair. Six of the album's eight songs are unique reinterpretations of traditional and modern classics from composers such as Herb Ellis, Wayne Shorter, and Thundercat. The duo then flexes the intimate dynamics and texture of piano, voice, flute, and electronic keyboards to reinterpret the compositions into vehicles for new dreams and possibilities. Of course, the most noticeable influence on the album is that of Brazilian music, which native Paulistano Martins brought to the record (and the relationship) from the very beginning. Three tunes make this connection explicit: Gilberto Gil's classic 'Ladeira da Preguica' (made famous by Elis Regina), Airto Moreira's eternally groovy 'Tombo in 7/4,' and the modern Brazilian heavyweight Luisa Lacerda's 'Poente,' a familial celebration that features lyrics by her father Andre Lacerda. However, Catalog of Dreams is steeped in Brasiliana beyond these three tunes, with traces of groove, melody, and harmonic complexity saturating the duo's playing and arrangements throughout. The record's two original compositions, both composed by Hamburger with production assistance from Martins, achieve this with a tender nuance. By taking these Brazilian influences back into her own roots of great lyrical musical traditions (the Great American Songbook, Black American Music, and folk), Hamburger finds a way to explore themes of loss, trauma, injustice and the human experience with nuance and care. Although both Hamburger and Martins are prolific on their own, each with their own critically acclaimed body of work as bandleaders, this is their first full length album with just the two of them. With this debut of eight songs in just under thirty minutes, the partners draw us into their journey, into their catalog, and into their dreams.

PEOPLE. PLACES.' is the result of a personal process of professional rediscovery and artistic redefinition. I arrived in Europe in 2019 thinking of myself as a guitarist who composes, and life circumstances led me to see myself now as a composer who plays the guitar. I have been making music since I was four years old, and the guitar was the instrument that, during my teenage years, led me to decide to become a musician and through which I became a professional, an artist. Composing, on the other hand, better represents the meaning music has for me today: as an expressive and revolutionary tool, for change, transformation, and development. - Martin laies

Two of the most distinctive voices in Dutch jazz join forces: harmonica virtuoso Hermine Deurloo and guitarist Anton Goudsmit. What begins as a playful exchange between lyricism and groove unfolds into a concert full of unexpected twists, inventive improvisations, and idiosyncratic compositions-plus recognizable covers. Rooted in Amsterdam's jazz scene, they combine melodic power with unpredictable energy. The warm, storytelling sound of Hermine's harmonica is the perfect counterpoint to Anton's unstoppable guitar playing: a creative whirlwind with irresistible groove, humor, and a unique musical signature. Together they take you on a ride filled with stories, rhythm, playfulness, and emotion-sometimes whisper-soft, then exuberant and explosive. Anton Goudsmit (guitar/compositions) enchants with inventiveness, infectious joy, and a groove that immediately draws the audience in. Hermine Deurloo is praised for her warm, lyrical tone and virtuosic, melodic storytelling style. She has performed with a wide range of artists-from Steve Gadd and Mike Bodde to the Metropole Orchestra-and refuses to be boxed into a single genre.

During the darkest of the lockdowns, I took my daughter to an open field near our home. In a time when the world felt shuttered and small, walking was our only escape from the suffocating stillness. As we reached the field, a sudden sensation washed over me-a quiet awakening. It wasn't just the spring breeze or the scent of the grass; it was a sudden reminder of what being alive meant. I felt I had been touched by Zephyr, the Greek god of the west wind, sparking a renewed wish to create and perform for the world once more. Liberte´: A piece exploring and searching for emotional freedom. Zephyr: Named after the gentle west wind, this track served as the primary source of inspiration for the entire album. Fushigi no Kuni: Translating to "Wonderland" in Japanese, this piece was inspired by Alice's Adventures in Wonderland written by Lewis Carroll. A Troubadour in the Moonlight: A composition and improvisation depicting a minstrel serenading a loved one beneath the moon. For Misato: A heartfelt dedication to Misato-san, my dear friend who departed too young. The five songs above are composed by Yukari. Eurus, Suibokuga, Pandora's Box, Don't Follow the Piper, and Au crépuscule are collective improvisations.

First Impression is the debut album by trumpeter and composer D!ma Loginov, a deeply personal statement shaped by memory, migration, and identity. Rooted in modern jazz and enriched with elements of Kazakh folk music, the album reflects Loginov's journey from his childhood in Kazakhstan to his artistic life in Amsterdam. Across eight tracks, he blends soulful melodies, bold improvisation, and spiritual intensity, creating music that speaks as much through feeling as through sound. The album draws inspiration from wide landscapes, first love, and the freedom found in improvisation. Traditional influences surface most clearly in Steppe Sons and a striking modal-jazz reimagining of the Kazakh folk song Yapurai, while moments of intimacy emerge in the a cappella trumpet solo Luiza and the lyrical title track First Impression, featuring vocalist Carolina Gemmell. Recorded with a close-knit group of international musicians, many of whom Loginov met after moving to the Netherlands, First Impression captures a sense of trust, vulnerability, and shared energy. It is an introduction not only to an emerging artistic voice, but to the emotional world that shapes it.

Human Vibe is the sound of three musicians whose shared understanding runs deeper than geography. Pianist Jan Gunnar Hoff, bassist Jasper Somsen, and drummer Carsten Lindholm come from three different countries, yet their friendship and musical intuition make them feel like lifelong companions. In this trio, a glance, a breath, or a single musical gesture is enough to set the group into fluid, unified motion. A Trio Shaped by Conversation and Connection For their second album together, the trio reunited in the Netherlands, where long conversations over lunches and dinners flowed directly into their creative process. Out of these moments came the title Human Vibe-a phrase that perfectly captures the essence of their collaboration: three individuals, each with his own artistic pulse, meeting in a shared space where honesty, curiosity, and joy guide the music. Their performances embody the same spirit. They speak openly with audiences, share stories, and create an environment where listeners feel personally connected to the unfolding music. The album was recorded at Studio 2 in Hilversum, the Netherlands' oldest radio studio and a place rich with musical history. Photographs of legendary jazz artists still hang on the walls, creating an atmosphere steeped in the past. Hoff, Somsen, and Lindholm recorded exactly the way they play live: together in a single room, in full view of one another. The result is an album that captures not only the music, but the trio's closeness and immediacy.

Vice Versa was created out of the need of Belgian pianist Bram de Looze (LABtrio, Joey Baron, Thomas Morgan, Hank Roberts) to collaborate with artists who he feels are natural extensions to his sound. He quickly found kindred spirits in New York master drummer Eric McPherson (Jackie McLean, Andrew Hill, Pharoah Sanders, Fred Hersch) and Berlin bassist Felix Henkelhausen (Jim Black, Nate Wooley, Lotte Anker), two compositional masterminds with a boundless sense of rhythmic inventiveness. The versatile and exploratory trio sets the bar for expressive interpretation and inventive creativity high. They traverse different approaches in which musical rules change without losing momentum. This leads to an interesting musical synthesis where the spirit of traditional jazz language emerges during intuitive musical excursions within free improvisation and contemporary music. Their debut album Vice Versa came out in 2023 on Dox Records to great acclaim. In January of 2025, while Bram de Looze was the Artist in Residence at Brussels Jazz Festival in Flagey, they recorded their second album live on stage, witnessed by a sold-out Studio 1. This album will be released by Challenge Records (NL) in February of 2026.

Vice Versa was created out of the need of Belgian pianist Bram de Looze's (LABtrio, Joey Baron, Thomas Morgan, Hank Roberts) to collaborate with artists who he feels are natural extensions to his sound. He quickly found kindred spirits in New York master drummer Eric McPherson (Jackie McLean, Andrew Hill, Pharoah Sanders, Fred Hersch) and Berlin bassist Felix Henkelhausen (Jim Black, Nate Wooley, Lotte Anker), two compositional masterminds with a boundless sense of rhythmic inventiveness. The versatile and exploratory trio sets the bar for expressive interpretation and inventive creativity high. They traverse different approaches in which musical rules change without losing momentum. This leads to an interesting musical synthesis where the spirit of traditional jazz language emerges during intuitive musical excursions within free improvisation and contemporary music. Their debut album 'Vice Versa' came out in 2023 on Dox Records to great acclaim. In January of 2025, while Bram de Looze was the Artist in Residence at Brussels Jazz Festival in Flagey, they recorded their second album live on stage, witnessed by a sold out Studio 1. This album will be released by Challenge Records (NL) in February of 2026.

All the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story - one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning. The opening track, "Wu Wei," sets the tone. A central concept in Taoist philosophy, Wu Wei translates to "non-action" - not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence. "One" speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together - a shared humanity that transcends our differences. "Home" represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it's something they must find or create. But for all of us, the feeling of home is essential to live a fulfilled life. "Reflections in the Water" is an introspective piece - a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me. "Seven Virtues, Seven Sins" explores the dualities of human nature - the push and pull between good and evil, right and wrong, light and shadow. It's a reflection on the moral questions we all face and the deeper quest for inner truth and balance. In "Samsara," the cyclic nature of existence is made audible: life, death, and rebirth - endlessly repeating. It reminds us that every end carries the seed of a new beginning. "Blues for Sadako" is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war. The final track, "Healing," is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing - a return to compassion, empathy, and wholeness. Throughout this album, I've tried to express something honest - something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding - just like a flower grows, slowly and naturally, in it's own time. You cannot force growth. You cannot force mastery. The moment you think you've arrived, life will humble you. There is no final destination - only the ongoing path. Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept - to let go, and to allow life to unfold. This is the essence of Wu Wei. To move in harmony with the world, to follow your inner voice, to grow in all directions like a tree, to live fully in the present - this is not just a philosophy, but a way of life. This album is an invitation to listen - not just to the music, but to yourself. - Aseo Friesacher

Master drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means "chapter" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis. With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords.  Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From it's conception, the trio immediately started developing it's unique essence. With this project, master of rhythm Stephane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.

The Value of Choices is the long-awaited new work by composer, guitarist, and storyteller Gabriele di Franco-a project shaped by years of reflection, doubt, vision, and the courage to choose. Written for a remarkable ensemble of musicians whose personalities and sounds inspired every line of ink on the score, the album unfolds as a collection of narratives where jazz meets classical colors, folk sensibility, and contemporary imagination. Across eight compositions, di Franco explores how every decision-musical or personal-carries weight. Each piece opens a small universe: a dreaming fly, an ancient Sardinian chant reframed through a woman's eyes, a lullaby for two children, the heaviness of loss, the intimacy of doubt, the breath that becomes creation. Voices, improvisation, and orchestral textures weave into a sound world where emotion and craftsmanship coexist. The album features gripping solos, rich orchestrations, and collaborations with guest vocalists François Vaiana, Vanesa Diaz Gil, Lieselot de Wilde, and Federico Pecoraro. Through them, di Franco expands the ensemble's timbral palette, giving story and sound equal expressive force. At the heart of this project lies a simple yet profound idea: "In composition, as in life, every choice shapes meaning." Holding this record-whether physically or digitally-is already one such choice. And for di Franco, it means everything. The Value of Choices is dedicated to his family and to mentor Kris Defoort, whose guidance has deeply influenced the composer's artistic path. Alongside his work as a composer, di Franco has built an international profile in musical theatre, opera, and contemporary music. His works-acclaimed by prestigious competitions across Europe and Asia-reflect a passion for narrative, structure, and emotional honesty. His libretti and musical theatre works, including the award-winning LULELA, reveal an artist who moves fluidly between mediums while staying rooted in the poetic power of sound. With this album, Gabriele di Franco invites listeners into a space of reflection: a place where stories breathe, choices resonate, and music becomes a shared moment of meaning.

GingerBlackGinger, the daring and authentic project centered around Belgian double bass player Yannick Peeters, has entered a new chapter. They are now joined by American avant-garde alto saxophonist Tim Berne. Their new album, titled Smalltalk Code, will be released in February 2026 by Challenge Records (NL). "Tim is a hero of mine, a great example when it comes to music composition. I didn't even dare ask him to join at first. This project is going to be unique; I don't know of many bands with two alto saxophones. I'm excited to see the dynamic form between Tim and Frans Van Isacker. Tim has such a strong personality, he has a great impact on our sound. The fact that Tim and Tom Rainey have played together before means there was an element of trust there from the beginning." - Yannick Peeters GingerBlackGinger is made up of Yannick Peeters (BE) on double bass (Jakob Bro, Frank Vaganée, Chris Joris, Mark Feldman, Jim Black, Joshua Redman, Hank Roberts); Frederik Leroux (BE) on guitar (Flat Earth Society, Ruben Machtelinckx, Joachim Badenhorst, Lander Gyselinck, Steven Delannoye); Frans Van Isacker (BE) on saxophone and clarinet (Tom Malmendier, Quentin Stokart, Ottla, Chantal Acda & The Atlantic Drifters); Tom Rainey (US) on drums (Fred Hersch, Ingrid Laubrock, Mary Halvorson, Mark Helias, Joey Baron, Jim Black); and now Tim Berne (US) on saxophone (Paul Motian, Bill Frisell, Hank Roberts, John Zorn, Marc Ducret, Michael Formanek, Craig Taborn). These are personalities with a vision: creative, stubborn people who won't settle for mediocrity; restless spirits who keep looking for new sounds, contexts, and like-minded people, and are therefore the ideal partners in crime for Peeters. In January 2024, the band released their debut album GingerBlackGinger. This album combines elaborate soundscapes, brief bursts of energy, and mesmerizing grooves. In May of 2025, Yannick Peeters was given carte blanche by Bozar. She took the opportunity to invite her personal musical hero Tim Berne to join the band for the recording of a new album and a live show. The result of this journey into new musical adventures is the album Smalltalk Code, to be released in February 2026 by Challenge Records (NL).

After the warm reception of their first collaborative album, pianist Bruno Bavota and vocalist/composer Chantal Acda felt a quiet but undeniable pull to continue the journey they had begun together. What started as a spontaneous musical dialogue has grown into a deeper partnership; one rooted in trust, intuition, and a shared devotion to the emotional core of sound. For this new chapter, the duo stepped into the studio together for the first time, choosing to shape the music side by side rather than far apart, as was the case with their first album. They invited legendary engineer Phill Brown, renowned for his work with Talk Talk, Mark Hollis and a constellation of other boundary-pushing artists, to help capture the fragility, space and raw honesty that define their collaboration. Brown's unmistakable sensitivity to atmosphere became an essential part of the album's sonic architecture. To expand their palette even further, Bavota and Acda opened the doors to a small circle of like-minded musicians whose voices naturally complement their own: Adam Wiltzie (A Winged Victory for the Sullen, Stars of the Lid), Gerd Van Mulders, Beatrijs de Klerck and Niels Van Heertum. Their contributions move gently through the record: brass, strings, textures and drones that never overwhelm, but instead illuminate the quiet spaces where Bavota and Acda's music breathes. The result is an album that feels both intimate and expansive, grounded in the delicate interplay of piano and voice yet broadened by the subtle orchestration surrounding them. It is a record about presence: two artists meeting in the same room, listening deeply and allowing others to join their conversation. Released by Challenge Records, the album Safer Places marks a meaningful evolution in Bavota and Acda's collaboration. An album that resonates with the beauty of connection, the weight of silence and the courage to let sound unfold in it's own time.

All the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story - one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning. The opening track, "Wu Wei," sets the tone. A central concept in Taoist philosophy, Wu Wei translates to "non-action" - not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence. "One" speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together - a shared humanity that transcends our differences. "Home" represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it's something they must find or create. But for all of us, the feeling of home is essential to live a fulfilled life. "Reflections in the Water" is an introspective piece - a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me. "Seven Virtues, Seven Sins" explores the dualities of human nature - the push and pull between good and evil, right and wrong, light and shadow. It's a reflection on the moral questions we all face and the deeper quest for inner truth and balance. In "Samsara," the cyclic nature of existence is made audible: life, death, and rebirth - endlessly repeating. It reminds us that every end carries the seed of a new beginning. "Blues for Sadako" is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war. The final track, "Healing," is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing - a return to compassion, empathy, and wholeness. Throughout this album, I've tried to express something honest - something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding - just like a flower grows, slowly and naturally, in it's own time. You cannot force growth. You cannot force mastery. The moment you think you've arrived, life will humble you. There is no final destination - only the ongoing path. Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept - to let go, and to allow life to unfold. This is the essence of Wu Wei. To move in harmony with the world, to follow your inner voice, to grow in all directions like a tree, to live fully in the present - this is not just a philosophy, but a way of life. This album is an invitation to listen - not just to the music, but to yourself. - Aseo Friesacher

Pierre-Antoine Savoyat couldn't have found a better title for this second album! Thanks to his subtle way of contemplating and embellishing space and sound as a composer and as trumpet player, Thousand Shades of a Clown reveals personal and refreshing music with a kaleidoscopic imagination, effervescent with colours and emotions. The veil of the clown's mask gradually *fades away* to reveal the essence of his art: tenderness, generosity and humility. Much like a sleeping volcano, we enjoy a poetic quietness always bounded with a boiling energy underneath the surface. Sometimes, Pierre-Antoine allows us to witness an unannounced eruption, before returning to a feeling of deep peace through the beauty of a masterful sound. His characteristic kindness probably hides a passionate fire and his humanist commitments in search of truth are never far away; perhaps even constituting the lifeblood of this work in which the stories of his life untangle and detangle. His desire to make the world a more wonderful place is expressed through the poetry of lyrical musical gestures, supported and propelled with intensity by his faithful accomplice, pianist Simon Groppe, a true chameleon of the keyboard. Their surprising and precise articulations are extended with equal finesse by Fil Caporali on double bass and Oscar Georges on drums, forming a perfectly harmonized quartet. Between his solitude and the absurdity of the world, Savoyat has forged a masterful and compelling musical language, bringing with him guests with boundless imagination and crystal-clear ideas, true nuggets of pure gold like those old-time-alchemists dreamed of: Alexandra Grimal, with her majestic saxophone sound; Lucia Pires, with her light and dauntless flute; and Lynn Cassiers, captivating with her unique vocal and artistic universe. Therefore, the album takes on a plural form in a counterpoint of shared stories, styles and times without ever losing the coherence of a common discourse. Pierre-Antoine weaves the whole together with the care of a goldsmith and through his fluid and mysterious intonations - where the 'between' naturally becomes the 'inside' - he blossoms into space like a tightrope walker defying the laws of gravity. Each piece of music has it's own specific touch; the titles speak for themselves, sprinkled with melancholy and filled with warmth. Comforting like a refuge where you are always In good company - as in the lyrics of Lynn Cassiers - this album could even become one of those with which you live, breathe, and through which you open the windows of your inner universe to get closer to the light in a world that has become far too dark.

Master drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means "chapter" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis. With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords.  Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From it's conception, the trio immediately started developing it's unique essence. With this project, master of rhythm Stephane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.

For Jakob's Mirror, composer and saxophonist Robin Verheyen (b. 1983) sought inspiration far from home, retreating to the Albers Foundation in Connecticut to reflect on the life and work of painter Jakob Smits (1855-1928). Smits, who settled in the Belgian Campine and captured it's light and landscapes in a personal, timeless style, became a guide for Verheyen's own exploration of identity, memory, and belonging. Rather than translating Smits' canvases literally, Verheyen immersed himself in their atmosphere, while also listening to the music of Smits' era, including Flemish folk songs-one of which briefly surfaces in the score. Written for the Goeyvaerts String Trio and percussionist Robin Schulkowsky, the work weaves together European harmonic traditions, jazz's rhythmic vitality, and echoes of Verheyen's roots in the Campine. Jakob's Mirror is both homage and self-portrait: a meditation on landscape, light, and the enduring pull of home.

AMARe is a musical tribute to the sea, to love, and to the ever-shifting tides of inspiration between Brazil and Europe. The title blends a mare (the tide) and amar e (to love is), capturing the album's essence: movement, emotion, and surrender. Vocalist Celine Rudolph, pianist Henrique Gomide, and guitarist João Luis Nogueira come together in an intuitive dialogue where Brazilian rhythms and jazz improvisation meet in perfect flow. The trio moves seamlessly between original compositions and fresh interpretations of classics by João Donato, Gilberto Gil, Toninho Horta, and Candeia. Each track resonates with freedom and connection whether in the poetic depth of Itacimirim, the rhythmic interplay of Toca da Arara, or the quiet beauty of Preciso Me Encontrar. AMARe is not a reconstruction but an organically grown musical language where tradition and modernity converge. With guest appearances by Toninho Horta and Teco Cardoso, this is a contemporary ode to Brazilian music authentic, exploratory, and timeless.

With Peace Orchestra, saxophonist Yuri Honing presents a new musical chapter where boundaries blur and sounds connect. This unique ensemble brings together a rich palette of influences, rooted in the spiritual jazz of the 1960s and '70s, yet infused with modern electronics and an open, contemporary sound. Inspired by legends such as Pharoah Sanders (The Creator Has a Masterplan), Charles Lloyd, and Sun Ra, the album is a tribute to musical freedom. The Peace Orchestra defies stylistic labels - it is a breathing, evolving entity where tradition, innovation, and improvisation continuously embrace each other. Together, Yuri Honing - tenor saxophone, Remy van Kesteren - harp & electronics, Ella Zirina - guitar, Tony Overwater - double bass & bass guitar, and Yoràn Vroom - drums, create a sonic universe that feels contemplative, powerful, and wide open. Live recordings such as For a Script, Kaïn & Abel, and a surprising reinterpretation of Imagine showcase their dynamic energy and collective freedom.