With Organisms, Calefax explores the majestic and mysterious essence of the organ- without an organ in sight. Revoicing centuries of repertoire for reed quintet, they channel the instrument's spiritual depth, improvisational roots, and theatrical flair through breath and reed instead of pipes. The result is not just interpretation, but transformation-Calefax becomes a living, breathing organ, uncovering the humanity behind the grandeur. From Sweelinck's Fantasia Chromatica and Bruhns' richly imaginative Prelude in E Minor, through the intimate final chorales of Brahms and Franck, to Florence Price's Suite No. 1, which blends African-American musical traditions with Romantic expressiveness, this album redefines the organ not as a sacred machine, but as a vital force of musical imagination. In 2025, Calefax celebrates their 40th anniversary. Organisms is the fifth PENTATONE release by Calefax, following their critically acclaimed albums An American Rhapsody (2023), Bach's Musical Offerings (2020), Dido & Aeneazz (2019), and Hidden Gems (2018), which earned 5 stars from BBC Music Magazine. Praised for their "witty, well-crafted arrangements" (De Volkskrant) and "beautiful playing" (Het Parool), Calefax has been hailed by The Times as "five extremely gifted Dutch gents who almost made the reed quintet seem the best musical format on the planet."

Night Windows, the title of Fabien Waksman's work, is the general theme of Lucile Dollat's recital, playing out the many sonorous possibilities of the Grenzing organ in the Maison de la Radio et de la Musique Auditorium. This "window open on the night" invites us on an unpredictable journey, awash in mysterious resonances, intangible or thunderous, calling up fleeting and poetic images, flashes of improvisation, all combining to rekindle the imagination through a new vision of the repertoire.

The Presses Universitaires de France and Fremeaux & Associes offer tutorials on the history of French literature, narrated, explained and analyzed by Alain Viala, Professor Emeritus at the Sorbonne Nouvelle University, with excerpts read by Daniel Mesguich, comedian, director, and writer. At the end of the First World War, everything had to be rebuilt. Collective trauma is exorcised in literature by a frenetic renewal, an intensity of creation, and a desire for revolution. Everywhere, political and militant engagement is expressed, both in substance and in form, and shapes the vital need to create a whole generation. This course opens the doors to the understanding of a literature given in context and reveals the delicate mechanisms invented to conquer spaces unknown in the unconscious, in thought, or in beauty.

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There is no way around true jazz legend Alain Jean-Marie. A pianist gifted with a rare sensitivity and a sincere virtuosity, he is held in high esteem by jazz fans and jazz musicians alike. Biguine reflections is the works of a lifetime. It was produced by great French-Caribbean producers Arthur Apatout in turn with Erick Siar and stands as a 21-year long adventure (1992 to 2013), issued on five sides and gathered here in a complete, 4-disc set for the first time. In this tremendous, polyptich work the pianist bridges biguine and jazz, two creole musics which emerged out of the same cultural sphere: The Caribbean Sea. He strived to pursue and update the works of wabap biguine founders Al Lirvat and Robert Mavounzy. In bringing his own reinterpretation to it, Alain Jean-Marie takes Caribbean jazz to new heights. A monument.

This release celebrates the testimony of Edgar Morin. Sociologist, philosopher, former research director at the CNRS, founder of journals, and also a committed and warm man. Edgar Morin is one of the most important French thinkers of his time. Illustrious throughout the world, his books are translated into thirty languages and he is a Doctor Honoris at multiple universities. Morin's work is obsessive over the concern for knowledge - that it is neither mutilated nor compartmentalized.

Alain Pierre has always liked acoustic guitars, especially nylon strings, but also the twelve-string guitar (aka “folk” guitar). In his personal approach to jazz, he uses classical guitar techniques on the twelve steel strings, which is definitely one of the key features of his style. No wonder that Alain is particularly fond of the luxuriant acoustic jazz of the 70s, best represented, among others, by the ECM label. His compositions and playing arise from these influences. Alain’s son, Antoine, fell into his father’s magic jazz cauldron and grew up as a fan of jazz music of all times. His musical path has led him so far through a large part of Europe and to New York City, playing with key jazz artists. He recently received the Sabam Jazz Award for young talents. Felix Zurstrassen is the third member of the trio, and has already served as partner for Antoine in various projects. He is a bassist with astonishing musical capabilities, precise and always appropriate. His solid playing is very much in demand, and this rich experience enables him to fit accurately into any lineup. The band has shed new light on Alain Pierre’s compositions, his music is played with verve, power, and contrasts.

V78: IN FLANDERS' FIELDS

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Emma Whitten performs on the re-envisioned and restored Hazel Wright Organ in Christ Cathedral’s fresh acoustical space. “Every time I play The Hazel Wright Organ, I discover something new - it is truly a joy to play! I’m thrilled that the music on this recording showcases the entire instrument, from exquisite solo colors to the breathtaking power of full organ.”

Emma Whitten is an accomplished organist specializing in early Baroque and contemporary repertoire. Dr. Whitten serves as Associate Organist at Christ Cathedral (formerly Crystal Cathedral) in the Roman Catholic Diocese of Orange County, California. As Associate Organist, Emma plays for major liturgies at the Cathedral and accompanies the Diocesan Choir. Emma also acts as Music Coordinator at the historic Church of the Immaculate Conception in San Diego, and maintains a private teaching studio in Oceanside, California. Emma holds degrees in organ performance from the University of Notre Dame (2009), University of Kansas (2011), and Arizona State University (2014), where she received her D.M.A. studying with Kimberly Marshall.

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