From Darkness

‘At Home’ Includes the iconic track ‘Remembering’, probably Avishai Cohen’s soundtrack to date. Avishai Cohen is an Israeli jazz double bassist, composer, singer, and arranger. He began playing the piano at 9 years old but changed to the bass guitar at the age of 14, inspired by bassist Jaco Pastorius. In 2002, Cohen founded his record label, Razdaz Recordz. "I've always been interested in several genres of music, including jazz, rock, pop, Latin and funk," says Cohen. "I'm always packed with ideas. I decided to start my own label because I'm involved in so many different projects." Cohen's signature sound is a blend of Middle Eastern, eastern European, and African-American musical idioms.

Polarity is an acoustic jazz project from Jan Gunnar Hoff and the Hoff Ensemble. Of the new release, Hoff writes: "My main goal is to create a specific identity for each album I make. This time I chose to involve Anders Jormin and Audun Kleive, two of Scandinavia's finest jazz artists. The result is Polarity, an album based on both new and older compositions of mine, recorded in a unique acoustic setting." Polarity has been conceived as a cohesive experience where the compositions themselves, the moments of spontaneous inspiration during performance and the natural sound world of the church acoustics all affect the final result. The compositions are inspired by actual experiences and particular states of mind. The album was recorded using state of the art technology called Immersive Audio. The listener is surrounded by music and can move about in the aural space and choose angles, vantage points and positions. Prepare to be fully enveloped in a cocoon of life-like audio.

“...Witchdoctor’s Son contains the most infectious, buoyant, gleeful music...the interaction between Pukwana and Tchicai’s vastly differing phrase sensibilities is one of the joys of this recording...” (Lange, Down Beat) “...from Dyani’s most consistently inventive period...” (The Penguin Guide To JAZZ) The timeless brilliance of jazz with the remastered edition of Johnny Dyani's Witchdoctor's Son, originally recorded in 1978 brings together musicians from South Africa, Denmark, and Brazil, blending their unique styles with the rich heritage of American jazz. The presence of John Tchicai, a stalwart of the New York jazz scene, adds depth to this remarkable record. The music is deeply rooted in South African traditions, with themes composed by Johnny Dyani and Dudu Pukwana, and traditional tunes arranged by them. The spirit of Africa, especially the Xhosa world, is a constant presence throughout the album.

June 15, 1976 Long tall Dexter plunges into a blowing spree in this unusual piano-less trio format. “...It contains some of his freest solos, notably On Green Dolphin Street...” (The Penguin Guide to Jazz) C. Andrew Hovan the author of the new liner notes for the album writes: “Lullaby for a Monster”, recorded just before his triumphant homecoming, stands as a powerful reminder of an era when jazz giants roamed in abundance. A favorite among musicians, this album deserves wider recognition within Gordon’s impressive discography.” “...intense and vibrant music throughout...” (DIAPASON, France) “.... in this stripped down setting Dexter Gordon is truly on fire ...” (Soulpope – The Jazz Beat) 180g Audiophile Vinyl

In 2025, PMP is proud to release Trillium X, a sixth opera by Anthony Braxton, on the occasion of his 80th Birthday. A limited deluxe 8-CD box set including both, a live recording of the world premiere in Prague, a studio recording realized at the famous Darmstadt Summer Course, a 6-hour of exclusive audio-visual materials documented a complete world premiere, documentary film In the Garden of Trillium X, and in-depth conversation between Anthony Braxton, Swiss conductor Roland Dahinden and German writer and Braxton's scholar Timo Hoyer. Braxton spent five years working on his opus magnum. He has been significantly involved in all Trillium performances, including this one. He has accompanied the rehearsals from the very beginning. However, the leading man in charge was Roland Dahinden, his long-time fellow from Wesleyan University. Dahinden and incredible PMP Orchestra represent the ongoing generational change in creative music. "X is a dream-logical world unto itself, a place to get lost in for a handful of hours, like Wagner, but strictly according to Braxton-ian rules of order and exploration." - Josef Woodard, DownBeat, 5-stars

Tommy Flanagan was known for his tasteful, flawless and swinging piano playing. He added class to every session that he was involved with and fortunately it was well documented during the latter part of his career. Solo Piano was not initially released until decades after it's 1974 recording. It is significant historically because this outing was the pianist's first recording as a leader in 13 years and, most importantly, because it is very good music. Until the long delayed release of Solo Piano, it was believed that Tommy Flanagan's "comeback" began with 1975's The Tokyo Recital for the Pablo label and that his only full-length album of unaccompanied piano solos was 1977's Alone Too Long which was released by Denon in Japan. Solo Piano forced a slight readjustment of the jazz history books and, most importantly, offers listeners some very enjoyable music from the great pianist. It also includes a few surprises, particularly for those listeners who think of Flanagan as primarily a bop stylist. When swing was succeeded by bop as jazz's modern mainstream, the function of the piano changed from being a timekeeper to take part of the rhythm section. While the pre-1945 styles of jazz piano had the pianists keeping time with his or her left hand, usually by striding back and forth between bass notes and chords, in bebop that role is usually handled by the string bassist. Bop pianists use their left hands to hit chords on a more unpredictable basis, accenting beats like a drummer "dropping bombs, " while their right plays hornlike lines. That approach works perfectly in trio settings but can leave some pianists sounding incomplete when taking unaccompanied solos. Bud Powell, the leader in the field, was able to imply the beat and slightly adjust his style when playing solos. In the case of Tommy Flanagan, his ability to play swing was a major asset and in a solo setting he often added a modified stride, as can be heard on his version of Sleeping Bee. On swing-oriented numbers such as Isn't It Romantic, Sleeping Bee and Yesterdays, Flanagan always kept the melody close by even while creating improvised variations. One never has a problem knowing where the pianist is for he builds his improvisations off of the melody rather than simply discarding the theme in favor of jamming over it's chord changes. He follows those classic songs with an infectious version of Stompin' at the Savoy that manages to sound both vintage and modern. To conclude the enjoyable program, Flanagan performs a song apiece by three great composers of the bebop era (Dizzy Gillespie's Con Alma, Tadd Dameron's If You Could See Me Now, and Thelonious Monk's Ruby, My Dear) before ending the set with a joyful rendition of Lover. By the time Tommy Flanagan left Ella Fitzgerald's backup band in 1978, his series of trio recordings had reminded the jazz world that he was a brilliant and very musical pianist. He worked steadily during the next 23 years, touring Europe and Japan while being based in New York and remaining one of the most consistently satisfying of all jazz pianists. Flanagan passed away on Nov. 16, 2001 at the age of 71 but he has never been forgotten. Tommy Flanagan is remembered with love, respect and admiration for his playing and his classy nature. Solo Piano adds to his impressive musical legacy.

The Modern Jazz Quartet was formed in 1952, largely by the rhythm section of the Dizzy Gillespie Band. When these recordings were made, John Lewis was still trying to develop the Modern Jazz Quartet as a jazz chamber group, attempting to make a unique style of jazz, free of cliché. The motto of the MJQ was “Change your attitude.” Each of the thirteen tracks on this album show the ensemble’s unique and dignified style. As Andre Francis wrote of the group, the musicians are “a sensitive instrument which vibrates in the same universe of sound, achieving a communion unique in the world of jazz.”

Acclaimed Italian pianist Enrico Pieranunzi is at the zenith of his career and has now joined forces with the legendary French drummer André Ceccarelli and the acrobatic Danish double bass player Thomas Fonnesbæk. This new trio encounter combines three of the very best European jazz stars and makes for an album played with dramatic coherence. Something Tomorrow is available on Storyville Records.

Playing with Fonnesbæk seems to give wings to Pieranunzi, the two men listen and talk to each other like two accomplices, who meet again after a long absence. Fonnesbæk enjoys this intuitive game, where they listen intensely to each other, propose another tempo or a new melody. And they can count on the rhythmic precision and great musicality of André Ceccarelli, one of Pieranunzi’s favorite drummers.

Enrico Pieranunzi is one of, if not the most, popular European pianist, likely due to a unique combination of influences, from his formative years in classical and Italian music to his collaborations with iconic film composer Ennio Morricone and output with the likes of Chet Baker and Lee Konitz. Pieranunzi never renounces bold and elegant music, for he is a poet of black and white. In the breath of his piano, there is a reflexive expression, a harmonic treatment full of subtleties. A lush romanticism lies deep at the heart of his music, when he lets his hands dance on the keys. Thomas Fonnesbæk is a formidable bassist with an astonishing technique. He impresses with his virtuosity and harmonic choices, and his bass lines inspire both Pieranunzi and Ceccarelli. Drummer André Ceccarelli is one of the most important figures on the European jazz scene. He has not only played with Pieranunzi in many other musical constellations, but also with giants like Enrico Rava and Chick Corea.

Since 1966 the SWR NEWJazz Meeting, the legendary sound laboratory for improvised music brings together musicians so that they can develop their creative ideas free from the constraints of daily business. For four days, this arrangement creates a free space for experimentation, with the aim of developing a concert programme that is then presented on a tour throughout the broadcasting area.
The 2021 edition gave the then 23-year-old American vibraphonist Sasha Berliner the opportunity to put together her own dream band. Five musicians from New York and Los Angeles who had never played together in this line-up before, but had always wanted to: Kalia Vandever on trombone and electronics, Matt Sewell on guitar, Max Gerl on double bass and Michael Shekwoaga Ode on drums.
2020 Sasha Berliner was first woman to be voted number one in the “Rising Star Vibraphone” category by the critics of the American jazz magazine Down Beat. At the time, she was 21, which made her the youngest person in the history of the poll ever to attain this honor. Today, Berliner is a formative presence in Brooklyn’s young creative scene, firmly grounded in the experimental music world on the one hand and deeply rooted in the jazz tradition on the other. She studied with Stefon Harris at the New School for Jazz and Contemporary Music. Since 2018 she has been a member of the sextet of the visionary drummer and composer Thyshawn Sorey.

This is Terence's 1st album of pure jazz for a small ensemble in nearly 5 years, in which he's joined by guest artists Branford Marsalis and Dave Holland.

Founded in 1951 by Erwin Lehn, The SWR Big Band has been nominated for a Grammy several times and received the German Jazz Award (Gold) in 2015. Over the course of the years, it collaborated with artists like Quincy Jones, Pat Metheny, George Benson, Gary Burton, Dee Dee Bridgewater, Curtis Stigers, Jacob Collier, Patti Austin, Roy Hargrove, Sammy Nestico, Ivan Lins, Paula Morelenbaum, Joo Kraus, Toshiko Akiyoshi, Bob Florence, Rob McConnell, Slide Hampton, Maria Schneider, Frank Foster, Bill Holman and Bob Mintzer. The album SWR Big Band live at the Elbphilharmonie from 2018 is one of the longest running bestsellers of the label. The collaboration between Sammy Nestico and The SWR Big Band began 2004, when the composer was already 80 years old. Soon it developed into a real friendship. No less than five albums have been released in the years until his death, all of them bestsellers of the SWRmusic catalogue. They additionaly made a key contribution to raising international awareness of Nestico's late creative phase. The music he wrote for The SWR Big Band sports both funky sounds and elements of fusion, combining swing, a pinch of soul and an emotional orchestral expression. The music moves artfully between reduced combo sounds and opulent textures. This sense of mutual understanding was created during the decade-plus period of collaboration between the composer and the orchestra, a collaboration built not only on notes, but also on intuition.

40 years ago Bill Evans and Jim Hall recorded two brilliant duo albums called “Intermodulations” and “Undercurrent”. Andy Laverne and John Abercrombie whose collaboration dates back to the late 1960s have been inspired by the Evans-Hall recordings and have been experimenting with the format. Andy LaVerne remarks, "Over the years we have collaborated as a duo many times in concerts, club dates, workshop sessions. I guess Bill and Jim set a wonderful example to us of what could be achieved by the piano/guitar instrumentation”. This LP, though it is neither re-creation nor copying of the original material, is an evolution of the predecessors. 180g Audiophile Vinyl

Dmitri Shostakovich was a versatile composer: popular and serious styles came to him with equal ease and are frequently found together in the same work. In his twenties, before the heavy hand of Soviet officialdom slapped him down in 1936, music of every kind poured out of him: symphonies, operas and full-length ballets but also a great amount of music for film and theatre. Here Andrew Litton leads the Singapore Symphony Orchestra in a program which explores this lighter side of a composer who is otherwise often regarded as unrelentingly serious.

The album opens with Suite for Jazz Orchestra No. 1, which Litton conducts from the piano. Consisting of three brief movements, it is the only truly original work on the disc, written in 1934 for a competition aimed at making ‘Soviet Jazz’ more respectable. The remaining suites are all reworkings of existing music, such as the ballets The Age of Gold – about the adventures of a Soviet football team visiting the decadent West – and The Limpid Stream, portraying a group of entertainers visiting an idyllic collective farm. The Suite for Variety Orchestra is a compilation that the composer made in the late 1950s from three film scores, a ballet movement and four piano pieces. Closing the album is Shostakovich’s 1927 orchestration of a Broadway classic, Vincent Youmans’ "Tea for Two," which had become a hit under the title "Tahiti Trot."

REVIEW:

Entitled Jazz & Variety, this album encompasses four of Shostakovich’s more popular-style suites, mainly drawn from his ballet and theatre scores. These range from the poker-faced, Kurt Weill-like stylization of 1920s dance music, complete with plunking banjo, in the Suite for Jazz Orchestra No. 1 (1934), via the Prokofiev-like burlesques of The Age of Gold – a 1930 ballet about the vicissitudes of a Soviet football team in the wicked West – to the more straightforwardly traditional ballet numbers of The Limpid Stream(1935/45) set on an idyllic collective farm, and the Suite for Variety Orchestra put together from various pieces from the 1950s.

One item, the Waltz from the Jazz Suite, recurs twice: more fully orchestrated in The Limpid Stream, and in yet a third arrangement with a different, more banal middle section, in the Variety Suite. The collection culminates in Shostakovich’s twinkling orchestration of a version of ‘Tea for Two’, entitled Tahiti Trot (1927). Yet, in the middle of all these frolics, the searing intensity of the extended Adagio from The Age of Gold reminds us of the other, tragic side of Shostakovich.

Andrew Litton and the Singapore Symphony Orchestra lavish more care and subtlety on these pieces than the quality of invention in some of the music maybe deserves, additionally flattered by BIS’s spacious recording – though the Jazz Suite might have more bite in a drier acoustic. Still, this is a superior collection for those who relish this lighter, sometimes naughtier side of Shostakovich.

-- BBC Music Magazine

Aria

Star pianist and acclaimed composer Joel Lyssarides releases new album. "Joel's compositions are small masterpieces that he performs with a virtuosity and timing I haven't heard in Sweden for a long time, if ever" wrote Johan Norberg about pianist Joel Lyssarides' debut album, "Dreamer", which now has over 2.5 million streams on Spotify. The sequel, "A Better Place", is a conversation with Esbjörn Svensson, Bill Evans and Keith Jarrett with inspiration from Bach and Rachmaninov. "The creative process of this album was very different from my previous one, where I could pick and choose from songs that I had had years to complete. This time the music was created during mere hours over the course of a few evenings. There is a magic in the moment when improvising that I’ve found difficult to recreate afterwards. ”A Better Place” consists mostly of written down improvisations and then recorded with the trio without further processing. I think one tends to make better musical decisions on the spot, instead of at the desk where time is unlimited.”

One of the musical and audiophile highlights of jazz recording history is available in unsurpassed SACD sound. A celebration of the 30th anniversary of the recordings, the analogue masters have been transferred using improved technology to SACD. For the first time, the complete recordings are collected with full documentation and photos. Some of the tracks, previously only available in limited editions, are all present in this collection. The set also includes a previously unreleased DVD, in which Lars Erstrand (vibes) and Georg Riedel (bass) recall these wonderful concerts.

Eternal Child, Avishai Cohen's new album, will be released in May and showcases the full depth of his artistry as a bassist and composer. Years later, he reunites with drummer Jeff Ballard on selected tracks, recalling their strong musical connection forged alongside Chick Corea. Recorded at the renowned Studio de Meudon in Paris, Eternal Child stands as a major new chapter in Cohen's work.

Armenian piano virtuoso Tigran Hamasyan returns with Manifeste, out February 6, 2025-a powerful fusion of jazz, progressive rock, and Armenian folk. Recorded across five countries, the album blends rhythmic complexity, cinematic depth, and spiritual intensity, featuring longtime collaborators and the Yerevan State Chamber Choir. Manifeste is a bold declaration where the human, digital, and sacred unite in sound. Following The Bird of a Thousand Voices, Hamasyan continues his artistic exploration with Manifeste (2025)-a bold, multi-dimensional statement recorded between 2023 and 2025 across studios in Yerevan, Athens, Moscow, Los Angeles, and beyond. Entirely composed and produced by Hamasyan, Manifeste fuses his signature rhythmic complexity and spiritual depth with a more cinematic soundscape, where Armenian folk roots, progressive rock intensity, and choral mysticism intertwine. The album unfolds like a ritual sequence-from the meditative "Prelude for All Seekers" to the powerful "National Repentance Anthem. " Collaborators include longtime partners Marc Karapetian (bass) and drummers Arthur Hnatek, Arman Mnatsakanyan, Matt Garstka, and Nate Wood, alongside contributions from cellist Artyom Manukyan, trumpeter Daniel Melkonyan, guitarist Nick Llerandi, and the Yerevan State Chamber Choir conducted by Kristina Voskanyan. Each piece radiates Hamasyan's fascination with transcendence and transformation, whether through the fiery rhythmic drive of "Dardahan" and "Ultradance, " the haunting choral layers of "One Body, One Blood, " or the intimate dedications "Years Passing (For Akram)" and "A Window from One Heart to Another (For Rumi). " In Manifeste, Hamasyan brings together the human, digital, and sacred-a declaration of unity through sound, where modern technology meets ancient resonance. In addition to awards and critical acclaim, Hamasyan has built a dedicated following worldwide, as well as praise from Herbie Hancock, Brad Mehldau, and the late Chick Corea. "With startling combinations of jazz, minimalist, electronic, folk, and songwriterly elements. Hamasyan and his collaborators travel musical expanses marked with heavy grooves, ethereal voices, pristine piano playing and ancient melodies. You'll hear nothing else like this. " (NPR)

O-ZONE PERCUSSION GROUP: Bamba (La)

Armenian piano virtuoso Tigran Hamasyan returns with Manifeste, out February 6, 2026-a powerful fusion of jazz, progressive rock, and Armenian folk. Recorded across five countries, the album blends rhythmic complexity, cinematic depth, and spiritual intensity, featuring longtime collaborators and the Yerevan State Chamber Choir. Manifeste is a bold declaration where the human, digital, and sacred unite in sound. Following The Bird of a Thousand Voices, Hamasyan continues his artistic exploration with Manifeste (2025)-a bold, multi-dimensional statement recorded between 2023 and 2025 across studios in Yerevan, Athens, Moscow, Los Angeles, and beyond. Entirely composed and produced by Hamasyan, Manifeste fuses his signature rhythmic complexity and spiritual depth with a more cinematic soundscape, where Armenian folk roots, progressive rock intensity, and choral mysticism intertwine. The album unfolds like a ritual sequence-from the meditative "Prelude for All Seekers" to the powerful "National Repentance Anthem. " Collaborators include longtime partners Marc Karapetian (bass) and drummers Arthur Hnatek, Arman Mnatsakanyan, Matt Garstka, and Nate Wood, alongside contributions from cellist Artyom Manukyan, trumpeter Daniel Melkonyan, guitarist Nick Llerandi, and the Yerevan State Chamber Choir conducted by Kristina Voskanyan. Each piece radiates Hamasyan's fascination with transcendence and transformation, whether through the fiery rhythmic drive of "Dardahan" and "Ultradance, " the haunting choral layers of "One Body, One Blood, " or the intimate dedications "Years Passing (For Akram)" and "A Window from One Heart to Another (For Rumi). " In Manifeste, Hamasyan brings together the human, digital, and sacred-a declaration of unity through sound, where modern technology meets ancient resonance. In addition to awards and critical acclaim, Hamasyan has built a dedicated following worldwide, as well as praise from Herbie Hancock, Brad Mehldau, and the late Chick Corea. "With startling combinations of jazz, minimalist, electronic, folk and songwriterly elements. Hamasyan and his collaborators travel musical expanses marked with heavy grooves, ethereal voices, pristine piano playing and ancient melodies. You'll hear nothing else like this. " (NPR)

Sahib Shihab's career started in the late 1930's where he would play for the likes of Luther Henderson and Roy Eldridge while studying at the Boston Conservatory. During the 1940's Shihab played with many of the greats from this period, including Thelonious Monk, Art Blakey, Miles Davis and many more. Especially his work with Monk proved to be important as it marked the switch from alto to baritone saxophone. The present release was recorded alongside Kenny Drew, Niels-Henning Orsted Pedersen, and Jimmy Hopps in Copenhagen in 1971, and features a programme of works mostly by Shihab. "Most of the compositions are by the leader, starting with the exotic blend of hard bop and African rhythm, featuring Shihab's dancing soprano sax and Pedersen's bass solo. Drew switches to organ and Pedersen makes a relatively rare appearance on electric bass on the funky "Sentiments". The leader switches to baritone sax for Drew's exuberant ballad "Extase". (Ken Dryden)

Tommy Flanagan was always known for his tasteful, flawless and swinging piano playing. The American jazz pianist and composer grew up in Detroit and was initially influenced by artists Art Tatum, Teddy Wilson, and Nat King Cole. Within months of moving to New York in 1956 he was recording with Miles Davis and Sonny Rollins. His recordings under various leaders, including the historic Giant Steps of John Coltrane, continued well into 1962 when he became vocalist Ella Fitzgerald’s full time accompanist. He added class to every session that he was involved in and fortunately he was well documented during the latter part of his career.

Solo Piano was not initially released until decades after its 1974 recording. It is significant historically because this outing was the pianist’s first record date as a leader in 13 years and, most importantly, because it is very good music.

REVIEW:

What strikes me most on this solo album is the clarity Flanagan brings to each of the tunes. The more "cerebral" jazz artists often begin an account of a tune with a "variation" resulting from thick embellishment of the melody itself and/or the rhythm of that melody. Flanagan consistently begins by honoring his "source material," after which he unfolds no shortage of embellishments involving the tune, its rhythms, and the underlying chord progressions. This was the "bread-and-butter" approach to jazz improvisation during the second half of the twentieth century; and, as such, the album is not only an account of bravura solo piano work but also a first-rate introduction to cultivating the skills of listening to jazz.

-- The Rehearsal Studio (Steven Smoliar)

Another SteepleChase debut album here by Japanese-born “so cute, so bad” B-3 organist Akiko Tsuruga who hails from Osaka, Japan’s second largest city brimming with vitality and keen sense of good life. With her working group including husband trumpeter Joe Magnarelli Akiko leaps out with electrifying energy and at the same time displays her knack for elegant phrasing. “Tsuruga wraps her own personality around our expectations, bringing out signature ideals of her instrument” (Dan Bilawsky – AAJ)

Cool Yule