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.

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.

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.

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 Yor�n Vroom - drums, create a sonic universe that feels contemplative, powerful, and wide open. Live recordings such as For a Script, Ka�n & Abel, and a surprising reinterpretation of Imagine showcase their dynamic energy and collective freedom.

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 Jo�o 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 Jo�o 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.

She's the Poem is a series of ten poetic portraits varying from someone you could run into on the streets to an icon like Frida Kahlo. It's an ode to realness: the beautiful and the ugly, raw and unpolished. With this album, Sara Bax shows she is a composer and musician, but mostly feels like an artist through music. She wants to take you to the centre of being, she wants to make you feel the sparkles of magic that flow right there. If you put your head under water, your thoughts go still. Just like when you listen to this band. Bax utilises the power of every band member so, that the group together sounds like a single strong organ that paints the air with a rich color palette.

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 Yoran Vroom - drums, create a sonic universe that feels contemplative, powerful, and wide open. Live recordings such as For a Script, Ka�n & Abel, and a surprising reinterpretation of Imagine showcase their dynamic energy and collective freedom.

Out of a mutual love of spontaneousness and raw emotions, Belgian guitarist Julien Tassin and Finnish guitarist Heikki Ruokangas decided to start creating music together. As two guitars aiming to sound like one.�In their music, the concrete and the abstract can co-exist at each moment. Melodic lines are combined with atonal sounds for an organic and exploratory approach to the acoustic guitar. Just like life itself, the music of this duo is full of both beauty and beast. And, just like the players, it has a playful sense of humor to it.

With It's All About Love, seasoned jazz vocalist Donna Byrne makes a radiant return to Challenge Records, delivering her ninth studio album and reaffirming her place among the great interpreters of song. Spanning a rich career of nearly four decades, Byrne remains true to her roots, offering a heartfelt collection that honors the traditions of jazz while showcasing her timeless artistry. This 16-track album brings together a thoughtfully curated blend of jazz standards, bossa novas, blues, and contemporary gems.�Each performance reveals Byrne's effortless storytelling, exquisite phrasing, and unerring sense of swing.

Embarking on an exhilarating journey into uncharted musical territories, pianist Bram de Looze assembles a quartet of extraordinary talent, featuring Joey Baron on drums, Thomas Morgan on double bass, and Hank Roberts on cello. This convergence of masterful musicians promises a transcendental exploration of sonic landscapes, where spontaneity, intuition, and boundless creativity intertwine. At Brussels Jazz Festival in Flagey, the four musicians proved to be world class storytellers through music. With unexpected twists and turns, they weaved an evocative narrative, always supporting the music, claiming the moment as a group without feeling the need to overpower each other. This magical performance was captured by VRT Radio Klara and, luckily, will be enjoyed for generations.

Tony Malaby,�Jozef Dumoulin�and�Samuel Ber�explore music made of flow, pulses, textures, angles, memory, rotations, distances, intentions, proliferations, territories, speeds, changes of scale, intervals. Their taste for playfulness pushes them to redefine the music at every moment.

The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.