Bohuslän Big Band and Danilo Pérez collaborate on a new and unique album. Danilo Pérez and Swedish jazz orchestra, Bohuslän Big Band, release a record where Pan-American rhythms meet the Nordic big band sound. The album, characterized by improvisation and playfulness, is evidence of music's power to unite cultures. The new album is the result of a collaborative effort marked by openness, a spirit of experimentation, and mutual respect. The music, of which the majority is composed by Danilo Pérez, has its roots in Pan-American rhythms and grooves and is as majestic as it is playful with its elements of both improvisation and free flowing melodies. With song titles like "Galactic Panama" and "Sunburn & Mosquito," Danilo's roots are never far away and permeates in the feeling of the music. "The album is a milestone in my career," says Pérez. "It symbolizes the power of music to bring cultures together and create shared experiences of beauty and harmony. The project is also special because it was carried out during the COVID-19 pandemic. Its release stands as a testament to the commitment and effort of everyone involved in bringing this Global Jazz vision to life.” The album brims with joyful spirit. The freely flowing improvisation between Danilo Pérez's piano and Joakim Rolandsson's soprano saxophone on "Lumen," or the beautiful flugelhorn solo by Staffan Svensson on "Across the Crystal Sea," and especially the last two minutes of "Sunburn & Mosquito," are all examples of a musical encounter beyond the ordinary. Together with Bohuslän Big Band, Danilo carries on the rich tradition of Panamanian jazz music, from pioneering musicians like Luis Russell and Sonny White to Eric Dolphy and Billy Cobham, blending it with the Nordic touch that characterizes Bohuslän Big Band. "It has been an honor for us to be emersed in Danilo's boundless energy, musical integrity, and creative vision," says Eric Brandström Arellano, orchestra manager for Bohuslän Big Band. "He has truly created an inclusive and exploratory atmosphere in this project. This has opened the door for the musicians to delve deep into the intricacies for the music and embrace his artistic vision." In 2019, Panamanian-born world pianist Danilo Pérez initiated a collaboration with Bohuslän Big Band in his role as Artist in Residence at Vara Concert Hall. In addition to touring, workshops, and work with the youth big band Next Generation Big Band, they also recorded Pérez's music in new big band arrangements, now released. The album will be released on October 25th, with two single releases in August and September respectively.

"Adi Shakti" is Vidya's third album and a continuation of the record "The Papillon," which was released in 2022 and was rooted in Vidya's experience of having found, and then lost, her Indian biological mother. In June 2022, Vidya's Swedish mother also suddenly passed away. Losing two mothers in a short period of time affected Vidya deeply and on several levels. At this stage, she found solace in a poem by Rumi and began composing music based on it.

Life changes. Feelings change. Music changes. Sometimes, you reach a turning point of some kind. Whenever this happens, the story of your life depends on where you begin and end the chapters. Are things changing for the better or for the worse, or both, or neither? We might not know until we see everything in retrospect, and even then we might not be quite sure. But in the end, these turning points define our stories. Recorded in just one day, this music tries to catch an emotion that was fleeting in the air. It came about both with ease and through struggle. At the end, we’re left with fragments of all the feelings, thoughts, and experiences it’s given us, and after a while, it becomes a memory.

Dive into the heart of Raphael Imbert and his quartet's musical universe with this captivating album recorded live in the legendary Parisian jazz and electro venue la Gare - le Gore. You'll hear the quartet's virtuosity and creativity in their own heady blues Ecosystem of Citybirds, the evocative Adelphi Street and the musing La Dame a la licorne. Each track invites you on a musical journey, from the emotional reunion of I'll be seeing you to the deep nuances of Japanese Sketch and Kadidja. Raphael Imbert and his quartet show how intense live performance can be when it's driven by their own music, the inspiration of the moment and their interaction with the audience.

The followup to Schwartz's acclaimed debut album, 'When Music Calls'. 'The Slow Lane' is 70 minutes of dynamic, acoustic jazz! 'Schwartz savors the implications of each note, allowing the listener to delight in the endless melodies created by his stirri.Independient.2005.

Sonic Skin blends equal parts of the sounds of granite, fabric, metal, rubber, stone, and strawberry cream in a fi reproof container and heats everything to the boiling
point. Before generous scoops of the concoction are distributed into heart-shaped bowls for serving, let it cool for a few seconds, no more.

Petter Bergander - piano
Eva Kruse - bass
Robert Mehmet Sinan Ikiz - drums

I met Toots Thielemans in the summer of 2008 at a concert in Skåne, Sweden. Pleasantly polite, he asked if I wanted to play something for him. He said, “Play the blues in C.” He had me play the blues several times, adding a new challenge of music theory each time. After a while he appeared satisfied, chuckling and giving me a pat on the back. I was happy and thought “Wow, I passed the Toots jazz test!” After that we had some ice cream and coffee. We talked about the art of improvisation and harmonica technique, and Toots recounted memories of his long career. He made all his stories come alive with intensity. It was an enchanting afternoon that I’ll never forget.

For me, Toots is the ultimate musician. As with his storytelling, his playing is intensely alive. Few musicians play with the kind of love, playfulness and dynamism that he puts into his music. The floating rhythm, the lyrical playing and his way of communicating with and within the music put him in a class of his own. He moves with confidence between genres, different ensembles and instrumentations, and his tone reveals a unique timbre; a few notes are enough to let you know it is Toots who is playing. Toots has inspired me to be unafraid as a musician. Daring to mix genres, daring to play any tune, as long I do it with the joy of discovery in the moment. Daring to enter new groups and constantly learn more. And perhaps most importantly, seeing that communication with my co-musicians and the audience is what brings life to the music. This album is my thanks to Toots, for the inspiration he gave and continues to give me each time I hear his music. - Filip Jers

Dear listener! After having combined the Fab4-quartet with different guests over the years, I felt the inspiration to invite a pianist into the Fab4-world. Since I am a long time fan of the Italian piano legend Rita Marcotulli, it felt natural to ask her to collaborate. We got together in Stockholm in April 2022 and recorded nine brand new songs together. I hope you will enjoy the result of this collaboration and thank you so much for listening!

Vincent Segal and Stephane Kerecki, key figures on the Paris music scene for two decades, now present Ponticello, a project born of their impromptu meeting in the summer of 2022 and their desire to combine their instruments. Their duo, which they formed on the spur of the moment, quickly grew into an ambitious venture designed for the stage. Here the two musicians share their passion for the great classics (Bach, Messiaen, Faure), jazz standards (Hampton Hawes, Scott LaFaro) and their own compositions, blending classical, jazz, South American and American folk influences. The potential of this intimate but powerful group became clear from their very first sessions, with a richness of sound worthy of an orchestra. Since they regularly collaborate with Airelle Besson they invited her to enhance their duo. Her magnificent sound fits in perfectly and adds a new depth to the ensemble.

The album Powerplay is a collection of original tunes inspired both by jazz today and grooves from the past. Modern jazz has had a clear influence on the blues tune Goldish, a homage to American organ player Larry Goldings. The title track Powerplay takes influences from modern organ jazz and Sam Yahel Trio. A more traditional sound is found in the songs FU and It Ain’t Swingin’ where you can hear the light touch from old swing tradition combined with the simple and natural groove from gospel. In the songs Marklandsgatan and Midday Lullaby the trio plays simplistic and honest, feeling the Nordic melancholy, whilst Peroni Double makes you think of the 60’s and the rawer organ grooves from back then. The album is recorded at Studio Epidemien with the legendary Åke Linton as recording- and mixing engineer.

I have always loved Songs.
They follow me wherever I go and give me the soundtrack to life. On this album I pay tribute to the songwriters that gave us all this wonderful music by playing a selection of songs that have that ”larger than life” quality.

My band ASPIRATION, with my brothers in arms, bassist Hans Andersson and drummer Johan Löfcrantz Ramsay are once again joined by the great Lars Jansson on piano.

To add further grand dimensions to the music we teamed up with the fabulous Göteborg Wind Orchestra and, of course, the one and only Mats Hålling as arranger and conductor.

- Peter Asplund

Stína Ágústsdóttir is considered one of Iceland’s best jazz artists and nowadays she’s just as established in Sweden. She is known for her energetic live performances, not only in Scandinavia, but also in her previous home of Montreal. She has been nominated for the Icelandic music prize a few times, both for her album, Jazz á íslensku (Jazz in Icelandic, 2017) and for The Whale (2021). Jazz á íslensku has already become a classic in Iceland and has been used in Icelandic language lessons and is played frequently on the radio. Stina has been living in Sweden since 2011 and plays with artists such as Maz Schultz, Håkan Brosträm, Erik Söderlind, Simon Berggren, Henrik Linder, Joel Lyssarides and Kjetil Mulelid. Stina, herself, says about her album: “In 2016 I got seriously ill and needed to put my life on hold. I managed to get back on my feet, with the help of family and friends, and the music on the record is about this journey from darkness towards light. The songs reflect the many sides of a human being, both the pretty and the ugly, and that it’s ok to be a mess and need help.”

Vivian Buczek writes: “This is the most personal album I´ve made so far, where the music sums up my musical upbringing as well as the essence of me as a woman, singer and musician. I was raised in a musical home in Sweden by my parents; both being Polish jazz musicians. Having both feet in two different cultures has made me realize how important my roots are, what they mean and what they have contributed to in my life. As an only child, music was always an comfort and my closest friend and as a little girl I remember singing from the moment I woke up to the very last waking minute of the day. In my adult life, my love for music has affected me and it has become such a strong part of my identity. Now is the time for me to emphasize all the inspiration of which jazz, blues and soul have always been a prominent theme in my musical upbringing. The engaging and strong support from both my parents is something I´m forever grateful for and so I choose to dedicate this album to my loving mother Krystyna Buczek and father Bruno Buczek. A few year ago I met one of the greatest musicians and saxophone players in the world; Seamus Blake. From the very first time i heard him play I was blown away by his musicality that comes straight from his heart and soul; right away I knew I wanted to invite him as a special guest on this album, ROOTS!”

Hank Roberts presents: On his debut album "Black Pastels" he put together the most innovative musicians of the N.Y. Jazz scene: Tim Berne, Ray Anderson, Robin Eubanks, Dave Taylor, Bill Frisell, Mark Dresser and Joey Baron. He wrote jazz history with the group "Miniature" and the song "Jersey Devil", and the Knitting Factory became a meeting point for the avant-garde scene. With Mark Feldman and Mark Dresser he formed the chamber music string trio Arcado and with Django Bates he played "Somewhere Over The Rainbow" and opened up never-before-heard worlds of sound.

Back in the 90s, producer Stefan Winter got to know and appreciate drummer Jim Black as a JMT sideman of Tim Berne and Uri Caine. 20 years ago, the young drummer fulfills his dream of releasing his first leader album on the label that is also home to the recordings of Tim Berne, Uri Caine and Paul Motion. For the anniversary of WINTER & WINTER, Jim Black compiles his personal selection of the recordings of his group AlasNoAxis: Music for open ears, for explorers of the unusual and unconventional. The musicians of AlasNoAxis combine jazz elements, new wave and grunge to create their very own sound. Stefan Hentz writes: “...atmospheric songs in which the saxophone sings while bass, drums and Hilmar Jensson's peculiarly motionless guitar shred the familiar and pile up new energies with the fragility of dissolved harmonies, the power of their power chords or even with true feedback orgies.”

Magic Malik playing standards, that's surprising. But after a few bars, the quintet led by the flutist gives such a personal interpretation of these well-known themes that you get the feeling that this music has been with these five musicians for a very long time... In fact, everything Malik has played before (Fanfare XP, the legacy of Steve Coleman and M-Base, Guadeloupean ka, etc.) finds in these standards, the sublime and open foundation of Great Black Music, more than an echo: a new listening experience.

Sometimes one has to be careful with the names chosen by the bands. Cortex is no cerebral music but is entirely organic, as remembers the Périscope, where they recorded this album in which their melodic and free jazz is exalted. In the steps of Mats Gustafsson or John Zorn's Masada, the Norwegian quartet delivers with this new album another proof, if needed, of their place in the jazz world : the place which quivers.

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.

This is my third album released by Stradivarius Records. The first record, "My Art of Gypsy Jazz" released in 2020, was followed by "Gypsy Jazz Style" in 2022. From my earliest compositions, I have wanted to emphasize a personal vision of the Gypsy style, combining it's stylistic features with a wide range of elements and skills I had studied and learned during my academic and creative journey. My proposal of music styles has been expanded with this new collection of unreleased songs using the touch and sound of the Manouche guitar in conjunction with the power of flamenco sound, the elegance of Vals Musette, passionate and energetic moments of intimate and contrasting atmospheres: "ALMA GYPSY"!!! Alma Gypsy In this arrangement my intent is to highlight the diverse "Gypsy" nuances of my "Soul". Gypsy Jazz and Gypsy music, from flamenco to 20th century Spanish classical composers, have greatly influenced my technical and musicmaking journey, both interpretatively and compositionally. The sounds of this piece are a blend of styles and techniques embraced by my area of expertise.

Acclaimed tenor Gregory Kunde marks his 70th birthday by making his first foray outside operatic repertoire with an album inspired by his childhood jukebox favorites. During a career that took him from a small town in Illinois to the international opera stage, Greg has retained his love for the songs which represent the soundtrack of his younger years. With this album he realizes a long-held dream to follow in the footsteps of legendary artists such as Frank Sinatra, Mel Torme, Tony Bennett and Bobby Darin, using his vast operatic experience to create personal and unique interpretations of some of the best American songs ever written alongside an ensemble of brass, percussion and bass. This is Gregory Kunde Then and Now.

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.

This album represents an innovative and renewed production path started in 2020 with my first album published by Stradivarius Music, with which a solid collaboration has been established. Already in the previous work, my aim was to immediately highlight in the title a personal vision of Jazz Manouche style, starting from its stylistic peculiarities, and adding “color” in a harmonic and stylistic combination with my experience. Despite maintaining the basic staff of guitars and bass, it was necessary to complete my compositions, depending on the need, with the valuable collaboration of many friends and musicians who, with enthusiasm have been involved. The desired sounds are more modern than the previous album. Each note is meaningful! At the root of this collection of unpublished works there is the “contamination” and “inclusion” of music styles that have occurred in the journey of my artistic life. The unmistakable touch and sound of the Manouche guitar and the sound, creative and emotional impacts that Django Reinhardt had on me, have inevitably influenced my vision and my path, in summary. -Pietro Lazazzara

For All We Know is the pure document of a magical concert evening in the LOFT in Cologne: without cuts and without any subsequent embellishment.�A piano trio that plays standards, including ubiquitous ones such as "Stella By Starlight" and "Body and Soul": a case of decent, basic jazz? By no means! "We're really creating weird stuff," pianist Thomas Ruckert said. Weird, because it is completely detached from the usual conventions of standard interpretation.