THE DISAPPOINTMENT 5

She makes the music of the future, headlines Zurich jazz critic Manfred Papst in an extensive portrait of singer Sarah Buechi. The singer has studied a wide variety of music in America, Ireland, Ghana and India to further develop songwriting, world and jazz in a highly personal way, whereby the balance of composition and improvisation is central. With Moon Trail she presents her new trio. "A strong shared feeling and freedom in dealing with the musical material; these are the essences the trio draws from jazz and folk music, as well as other global musical traditions. Virtuosity is never showcased for it's own sake. Rather, it is the underlying pulsating energy that allows a freer play of links and references; a musical web characterised by lightness and variability. In this, the trio shows the potential to set a new standpoint in jazz music: a musical golden ratio", writes Luise Wolf in the liner notes.

RAW MEET

Luciano Biondini is one of the few outstanding masters of the accordion in Europe, a musician who is at home with jazz music as well as being deeply rooted in the music of his homeland: the Mediterranean. After two CDs with Swiss drummer Lucas Niggli and French tuba player Michel Godard, Biondini has recorded a solo album for the Intakt label, dedicated entirely to the music of the area he grew up in: the city of Spoleto, in Umbria, Northern Italy. His plays some of the great Italian "canzoni" from the 60s, 70s and 80s, which are well know by everyone in Italy. These chart-toppers were sung by Gino Paoli, Domenico Modugno, Ernesto de Curtis and Pino Daniele, the icons of the "Cantautori" scene of that era. One tune is from Ennio Morricone - the melancholic title song for Giuseppe Tornatore's movie "Cinema Paradiso". Biondini plays it with passion and emotional power. Jazz critic Christian Rentsch says: "How Luciano Biondini manages it, how he doesn't give the sentimental melody away right from the start but creeps up on the theme, so to speak, continuously bending it in the course of the piece, playing around it, making it disappear and magically reappear, this shows the mastery."

OORT-ENTROPY

UNSQUARE

SAXOPHONES

The Trio Heinz Herbert's captivating aesthetic is thanks to a symbiotic intensity of expression. It contains traces of '70s free jazz psychedelics and particles of contemporary club culture and aspires to a broad fusion of free jazz and electronic music, energetically driven by a collective improvisation which outflanks solo gymnastics. After their celebrated 2016 recording, The Willisau Concert, with YES the trio have added fire to a highly original, unconventional musical art, swaggering again through electronic landscapes. "YES: welcome to transgressive zones of sound, multifaceted sonic structures, diverse aggregate states, moods and colliding rhythms. YES: enter the cabinet of mirrors, reflecting influences, material, colors and double (dance) floors. More closely intertwined, and loosely interlocked, the Trio Heinz Herbert sound comes apart in the sum of the threefold individuals and in an interplay based on blind trust, on YES they celebrate music which is always in motion, constantly building new forms, reminiscent of the shifting, morphing multiple body of a flock of birds," writes Florian Keller.

EUROPEAN CHAMBER

BAUER BAUER

ZENTRAL QRTT

SOUFFLES

CHICAGO PIANO SOLO

BRAINFOREST

BETWEEN HEAVEN EARTH