After Anette von Eichel opened a small window for the audience in 2001 with her debut release "Welcome To My World" to let people discover a previously unknown vocal talent, the spectacular and official start of her career was in 2004 with the release of "Get Out Now" in the beginnings of Jazz thing Next Generation. She has been teaching at the Academy of Music and Dance in Cologne as a professor of jazz singing since 2010. Nevertheless, she realigns her musical parameters and surprises with releases that stand out from the enormous sea of sound recording media in a pleasantly unpretentious way. After "Golightly" (Double Moon DMCHR 71106) from 2012, a duo album in 2017 and a Mingus project in 2019, "Inner Tide" is now her next work. The album unites a top-class instrumental combo with pianist Sebastian Sternal, bassist Henning Sieverts, drummer Jonas Burgwinkel and saxophonist Jonas Blom, in which the names alone prove that they cannot be reduced to mere accompanists. "This is exactly where I am now," Anettevon Eichel described the core statement of the nine titles of "Inner Tide". For her, it is a sign of the way, as always, when the singer, after a supposedly quieter public phase, comes out into the open again, deeply authentic, prominently, the field staked out with the "Eichel" brand. Or as she puts it laughingly: "Pure Me." Her older albums always featured pieces by others that fit her well. "Now, for the first time everything comes from me, not only the lyrics, but also the entire music. This is a big and important step for me, almost a new phase of my identity. And the result really makes me very, very happy!"

His new album "Dedication II" is an expansive affair (nine long songs provide a playing time of 73 minutes) and covers a lot of musical landscapes. Chick Corea once said that he made music to make people happy, and Moises P. Sanchez can certainly concur with this viewpoint. And "Dedication II" – the first "Dedication" album was released with the same line-up – is a bit reminiscent of the music of Chick Corea, who was open to the most diverse influences.

Olivier Le Goas: Recording a new album for piano–bass–drums trio felt like an important step in my career, since it is at the piano that I compose most of my music. Kristjan Randalu's rhythmic precision, the depth of his sound and the sensitivity of his touch confirmed without a doubt that he was the pianist who wasperfectly suited to my music.

AMNESIA is an intimate yet universal odyssey: While exploring themes of alienation from nature, self and home, it's songs represent a search for deeper connections, a pursuit of the beautiful and the cathartic on the way of finding one's place in the world.

The BuJazzO premiere took place in January 1988. The first record release was in the same year. 35 years... "35 Years": this new album in an impressive series acts like a cornucopia of ideas and stylistic ingredients. But it can hardly be more than a kind of opulent teaser for all that BuJazzO currently is.

His compositions are ambitious, idiosyncratic and imaginative. Nevertheless, the purely physical component of making music is an essential factor for Jonathan Salvi. "When I play the vibraphone, I dance!" This is also conveyed when you experience him live, as people tell him time and again. The impression of dancing is reinforced by the fact that the Swiss musician always plays with four mallets. His excellent technique goes hand in hand with improvisational brilliance

"Our new album In Between is a homage to those intermediate states, those moments of laughter and crying in which music stands against the rational order of our daily life and makes room for our souls.” Singer Juliana Blumenschein and guitarist Florin Küppers are musical storytellers. On In Between they tell stories situated between North and South America, more precisely from the Great American Songbook to the sambas and bossa novas of Brazil.

The Leipzig pianist and composer Jonas Timm and his seven-piece band not only captivate the listener with all his senses, but also take him along in the variety of his emotions. What seems to begin like an acoustic film noir, becomes more cheerful as the album progresses, and continues to go through more and more emotional states without ever becoming predictable. Much is reminiscent of Latin American dances, French chansons, soundtracks from old films and sometimes jazz.

You now hold an album in your hands with nine songs about longing for distance; the desire for closeness; about change; transience and a new start; as well as the question: where do I belong?

Gottwald and his quartet Prisma – with the decisive addition of guitarist Christina Zurhausen – play seven compositions by the trombonist. Gottwald's formative influences ranged from Kid Ory to Albert Mangelsdorff, and the universal aspiration he places on his instrument is best embodied by a musician like Ray Anderson.

Oscar Pettiford. The Clash Art Blakey. A Tribe Called Quest. Charles Mingus (with Eric Dolphy). Only People Do The Killing. Cannonball Adderley. Primus. The Ornette Coleman Quartet. When Moritz Koser, bassist and composer from Frankfurt/Main, talks about points of reference and important influences, it goes all the way through music history. Gnar Gnar Rad, the quartet from Frankfurt, is his band. "Gnar Gnar Rad" is the album debut: a strong statement with which he effortlessly bridges the gap between jazz history and current trends.

Magic … is one of the most overused terms for describing music. You seldom hear something that is really magical. On the other hand, the American bandleader Ray Anderson is a magician if there ever was one. His magic wand is the trombone. He masterly breaks down the boundaries between magic and reality, spirit and the physical, tradition and utopia.

Seen as one of the promising pianists of his generation, Arthur Possing has a very natural approach to music. The Luxembourgian started with classical percussion and added soon classical piano, before discovering the world of jazz.

The alto saxophonist Markus Harm from Nuremberg releases with "Foresight" the third album. The sound of saxophonist Markus Harm is mellow and sensual, and it combines optimally with the excellent guitar work of Christoph Neuhaus.

Drummer Mathieu Clement is only 21 years old, and he was only 20.at the time of recording “Coming Home”. Jazz is in the best hands with this young group, all of whom are younger than thirty. Mathieu Clement's sextet celebrates the balance between tradition and modernity with great enthusiasm and shows that the label "Jazz thing Next Generation" is a never-ending source.

Elegance and passion are the outstanding qualities of Hungarian jazz pianist Mátyás Bartha, and he recorded his second album “From This Moment On” in trio format once again: "As a pianist, you really want to play in a trio," he believes, "because you can't hide behind a wind player."

A trombone solo album is not exactly an everyday commodity, because the instrument is considered somewhat bulky, unwieldy and grumpy. In the hand of a master like Ray Anderson, however, one wonders how these prejudices could have come about, because he simply makes music with the trombone. "I've had this idea in my head since I started playing solo concerts in 1982," Ray Anderson recalled. "Anthony Braxton recorded the solo record ‘For Alto’ in 1969, where the challenge of playing an instrument alone without accompaniment is particularly interesting. So why not on the trombone too? Albert Mangelsdorff has recorded beautiful solo albums, and that by George Lewis is also very inspiring.”

CONTENTS:

• Roswell Rudd: Keep Your Heart Right
• Ray Anderson: Marching on, Blues for John Lewis
• Ellington: Just Squeeze Me
• Ray Anderson: Early Morning in the Andersonorious Jungle
• Coltrane: Equinox
• Irving Kahal, Sammy Fain, Pierre Norman: You Brought a New Kind of Love to Me
• Ray Anderson: Choppers
• Ray Anderson: The Sisyphus Effect
• Mancini, H: Moon River

REVIEW:

Trombonist Ray Anderson draws on New Orleans parade traditions, Chicago street smarts, New York assertiveness and a lifetime of often challenging experiences to provide this enriching album.

-- Downbeat

The Federal Jazz Orchestra, abbreviated and affectionately named BuJazzO by many, pays tribute to the legendary Clarke-Boland Big Band on its new CD. The legendary international ensemble existed from 1961 to 1972 in Cologne and was led by American drummer Kenny Clarke and Belgian pianist, composer and arranger Francy Boland.

Chris Potter writes: “Jim McNeely has always been one of my favorite composer/ arrangers, so I was thrilled to get the chance to work with him on [this] piece inspired by one of my favorite compositions, The Rite of Spring. He also arranged some of my music in a way that made me hear my own compositions in a fresh way. The band was a total delight to work with and played beautifully throughout, and I’m very proud of the result.”

REVIEW:

"Rituals," both the name of the album and of the work which accounts for a majority of its runtime, was originally commissioned as a tribute to Stravinsky’s “The Rite of Spring” for a performance marking the 100-year anniversary of the Paris premiere of the “Rite.” It is fascinating to observe how McNeely pays tribute to the source while creating a work that is distinct, separate and his own.

In the course of Chris Potter’s solos and cadenzas in “Rituals”, he seems to capture the essence of the work’s fecund chaos. It sounds as though he is giving his absolute all and relishing every moment (in this position, it is hard to imagine any other soloist doing a better job). He is also composer of the final four tracks on the album, all still arranged by McNeely. 

The union of a composer such as Jim McNeely, at the height of his abilities, with the virtuosic powerhouse that is Chris Potter, supported by one of the world’s most accomplished bands, has a lot to live up to. Thankfully, this is an album that seems to successfully fulfil expectations and keep delivering new revelations.

-- London Jazz News (Charles Rees)

Ukrainian pianist Vitalii Kyianytsia knows how to convince on his debut album "Last Day of Spring" with an almost perfect touch. With seven of his own compositions, the pianist composed the lion's share of the repertoire, drummer Mathias Ruppnig contributed the fast-paced "Stranger Than Fiction" and the number with the mysterious title "S.O.M. & D.I.D." comes from bassist Johannes Fink. Vitalii Kyianytsia comes from Kiev and learned the piano from the bottom up. "I started playing the piano at the age of six and then had a classical education," he said. "At the age of seventeen, I started to become interested in jazz. In the beginning, I particularly liked Oscar Peterson, Bill Evans and Duke Ellington, later also Chick Corea and Herbie Hancock. I then studied jazz in Kiev, but later also classical composition. This experience was important to me, and my final graduation examination was a piano concerto with an orchestra."

Ray Anderson (born October 16, 1952) is a jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument. He is a colleague of trombonist George Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in Down Beat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s. After studying in California, he moved to New York in 1973 and freelanced. In 1977, he joined Anthony Braxton's Quartet (replacing George Lewis)and started working with Barry Altschul's group. In addition to leading his own groups since the late '70s (including the funk-oriented Slickaphonics), Anderson has worked with George Gruntz's Concert Jazz Band. In the '90s, he began taking an occasional good-humored vocal, during which he shows the ability to sing two notes at the same time (a minor third apart). Anderson has worked with David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, Luther Allison, Bennie Wallace, Gerry Hemingway, Henry Threadgill, John Scofield, Roscoe Mitchell, Randy Sandke's Inside Out Band, Sam Rivers' Rivbea Orchestra, Bobby Previte, George Russelland others. Anderson is a member of Jim Pugh's Super Trombone with Dave Bargeron and Dave Taylor. He received a grant from the National Endowment for the Arts for a series of solo trombone concerts. Anderson has frequently returned to his early love of New Orleans music for inspiration. His Alligatory Band and Pocket Brass Band, featuring tuba player Bob Stewart or sousaphonist Matt Perrine and trumpeter Lew Soloff, are rooted in it's tradition. Since 2003 he has taught and conducted at Stony Brook University.

The words, with the exception of the Canticle of The Creatures, are settings of almost unknown poems by St Francis of Assisi. They cover a wide expressive and emotional range: from hope to despair, longing to acceptance, love to bitterness, delight in Creation to an impassioned plea for peace amongst mankind. The cantata is no pious word-setting of an ancient saint - rather it is a passionate and vibrant evocation of a man who remains a symbol of hope for millions of all faiths and none. Vison of a Garden - In 2020 I spent nearly five months in hospital with Covid-19, and was in an intensive care unit for more than half that time. In October, when I went back to the hospital for a check-up, I was given two booklets called 'ICU Diaries' which contained messages of support written by the nurses who looked after me in intensive care. I find it astonishing that these people whom I never knew could write such warm and personal messages. The text that the choir sings in 'Vision of a Garden' is taken from their words. I have plentiful memories from my time in intensive care, but they are almost all false ones: things which my mind invented to keep itself occupied while my body was otherwise engaged in fighting the virus... In the center of the Addenbrooke's Hospital complex in Cambridge there is a little garden, which is a lovely oasis of peace amid the hospital bustle. As I now know, I was taken to this garden from the ICU a couple of times in May, to get the benefit of the fresh air and sunshine. I wasn't consciously aware of this, but my subconscious transplanted the garden to Cape Town and incorporated it into my 'South African dream'... (Peter Johnstone) 5020926040626 LYR406.2 42577201 .00 20.99 .24 LYRITA COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/06/2022 https://mediacdn.aent-m.com/prod-img/500/03/4080103-2827302.jpg 22 1 N GUARNIERI / BUOSI / TIBIRICA CHOROS 2 In his Choros, Guarnieri wrote music that conjures up the landscape and essence of Brazil. These very personal concertos reveal the composer's refined instrumental combinations and elegant contrapuntal writing, while their dance rhythms are vivacious, drawing on the bai�o, maracatu and embolada. The Chorosin this second volume represent all stages of Guarnieri's compositional development. Also included is the delightful and inventive Florde Trememb�, an early work with choro-like features. The first volume is also available on Naxos. 747313440375 NXS8574403.2 42577430 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/13/2022 https://mediacdn.aent-m.com/prod-img/500/26/4080126-2824744.jpg 23 1 N DINTHEER,JAN TIGERS DEN - JAZZ THING NEXT GENERATION VOL. 111 TIGER'S DEN marks the debut of Swiss composer and bandleader Jan Dintheer - a bold, intricate, and deeply personal statement that blends conceptual structure with spontaneous energy. Written entirely for his own Large Ensemble, this album unfolds as a journey through imagination, curiosity, and discovery - a sonic expedition into unexplored territory. Rooted in Dintheer's fascination with large-scale jazz composition, the music fuses rhythmic complexity and lyrical intensity. Tracks like Unvollkommenes Beryllium and Langsgeteilte Dringlichkeit draw on conceptual techniques such as cellular composition," while pieces like Flug Frohmut or 5 vor 12 capture moments of emotional immediacy - from the thrill of skydiving to reflections on global unrest. At the heart of it all lies Tiger's Den, the title piece - a mysterious, winding journey that builds from introspective bass clarinet passages to an explosive climax, evoking the courage to step into the unknown. The album closes with Shepard's Pie, whose "Shepard rhythm" illusion gives the impression of perpetual acceleration, bringing the listener full circle in a seamless narrative arc. Dintheer's writing displays a rare equilibrium between intellect and instinct. The ensemble - a vibrant collective of 19 musicians - brings the compositions to life with warmth, detail, and vitality. The result is an album that's at once architecturally precise and deeply human.

Peter, Marc, Roland, and I came together for the first time in 2015 to start working on my ideas for this new quartet. Over the past ten years, we four became more and more familiar, both musically and personally. Even if something unexpected happens while playing, we usually find a good way to handle it. There is no fear-but trust. In my opinion, this is the most important foundation for developing musical expression and an individual band sound. Discovery of Lightness is our third album. But despite what you might associate with the album title, this seems to be the most challenging stuff we've worked on so far.

Polyphony, contrast, expression - these timeless Baroque qualities find new life in Klara Cloud's latest work with The Vultures. This album unfolds as a deeply human journey through emotion, memory, and rebirth - a musical tale spanning from the first spark of life to the quiet afterglow of death. Each track opens a new chapter of introspection and feeling, the serene melancholy of Peony blossoms beside the flowing energy of Waterfalls, Se Tu Me Dimentihi brings Pablo Neruda's poetry to life, while Funeral transforms loss into light - a meditation on the kind of silence that already knows the way forward, at it's heart shines Stephanie - a symbol of endurance and wonder - framed in a soundscape as vivid and intricate as a Baroque painting. With contributions from an ensemble of masterful musicians - Mateusz Smoczynski (violin), Mateusz Gaweda (piano), Adam Tadel (double bass), Piotr Budniak (drums), and guest violinist Bartosz Dworak - Cloud's vision achieves both intimacy and grandeur. Produced by Klara Cloud and recorded in Poland's Sound & Wave Studio, this record captures the essence of transformation: fragile yet fearless, lyrical yet raw. Dedicated to her children, Stefania and Julian, the album stands as both a personal diary and a universal reflection - an echo of beauty born out of silence.

Pianist Andreas Feith and saxophonist Markus Harm present their second duo album "Abstract Truth", a deeply connected and artistically evolved follow-up to their debut "What's New". Over years of collaboration-from early days in Rebecca Trescher's ensemble to intensive duo sessions-their musical bond has grown into a rare and expressive synergy. Unlike their spontaneous first recording, this album is the result of careful composition and preparation, reflecting a new level of artistic freedom grounded in jazz tradition. Their interplay is intuitive, multilayered, and emotionally rich, balancing improvisation with melodic sensitivity. "Abstract Truth" showcases this connection through original compositions and reimagined standards, culminating in a diverse and emotionally resonant statement. Tracks like "Calm", "Tune For K", and "Smoke Gets In Your Eyes" reveal a duo in perfect harmony-free, expressive, and rooted in shared musical trust.