This is his third album, but he is only 23 years old. No question about it: Mathieu Clement, the drummer, composer and arranger from Luxembourg, goes his way unswervingly.�Stylistically, the drummer also moves with this septet on a tried-and-tested basis. The watchword is "straight ahead." Clement is basically oriented toward the achievements of those jazz currents that developed in the mid-1950s and resulted in mainstream varieties.

If you have two loves – swing and Paris – if you want to dance to the rhythm of the beguine; if you love not only Beethoven but also Cole Porter, then go and visit Frivol’s Club! The ensemble Les Frivolités Parisiennes is a master in the art of blending musical genres. So, B Records invites you to join in and enjoy this tumultuous program which will immerse you in the vibrant atmosphere of the Roaring Twenties. Established in 2012 by the musicians Benjamin El Arbi and Mathieu Franot, Les Frivolités Parisiennes was created out of a desire to recover French Light Music of the 19th and 20th centuries, comic opera, opera buffa and musical comedy. With this in mind, the company annually produces new productions or revivals, of which a number have been recorded by Naxos. The chamber orchestra of Les Frivolités Parisiennes, the spiritual heir to the orchestra of the Opéra-Comique that was disbanded in the 1960s, can comprise from 14 to 40 players according to a work’s requirements.

The title "Awaking" carries a double significance. On the one hand, it refers to the musical awakening that marks my artistic journey; on the other, it reflects the collective awakening that marked the end of the Corona pandemic. I hope that "Awaking" reflects not just the sound of my music, but my appreciation of all the people who have shared this creative path with me.

Stratus is the stunning new quartet album from violinist Zach Brock and pianist Phil Markowitz, joined by Finnish jazz standouts Jaska Lukkarinen and Ville Herrala. Recorded in the peaceful setting of Sipoo, Finland, the album blends lyrical improvisation, intricate composition, and intuitive interplay into a cohesive, deeply expressive whole. From lush ballads to dynamic rhythmic journeys, Stratus showcases the quartet's chamber-like sensitivity and jazz-rooted spontaneity. Brock and Markowitz, building on their earlier collaboration Perpetuity, offer a seamless musical conversation elevated by a rhythm section that listens and leads in equal measure. A rich, genre-blurring project, Stratus is both intimate and expansive an exploration of sound grounded in trust, nuance, and shared vision.

There are good reasons why the names of all those involved in this album are listed as equal partners. "Moving Times" is the result of real teamwork and is the first production of a newly formed group in which everyone acts on an equal footing. This is not self-evident, because singer Esther Kaiser and guitarist Axel Fischbacher represent two established big names in the German jazz scene, who have been independently leading their own bands for many years and have released a large number of their own albums. The two belong to different generations while bassist Genevieve O'Driscoll and drummer/vibraphonist Michael Knippschild represent another one. That means three generations, two women and two men, and it fits as if there were nothing more normal in the world.

The carefully arranged connection between the international Arthur Possing Quartet from Luxembourg and Joel Rabesolo from Madagascar is a real stroke of luck, as the joint album Homes demonstrates. It is no coincidence that it almost overflows with captivating pieces and diverse music during approximately 70 minutes of playing time.� Instead of a random of tracks, the combination of pieces is designed to create a concise whole. As a result, Homes becomes a real listening journey.

A delicate beginning and a deeply romantic start. The warm, concentrated sound of the opening captures us and takes us along into a multi-faceted, extraordinary debut album.� "I might not be a virtuoso who has this broad base. But what really matters to me is something else. What appeals to me musically is not defined by virtuosity or technique. If something is extremely well done, if it is technically very good, I find it admirable. But I am touched when someone conveys honest emotions. These are often pieces that are not particularly complicated."

Stéphane Kerecki returned to composition after his two albums Nouvelle Vague and French Touch and now presents an album of his most recent works. This new project features a dream ensemble: Marc Copland, has been one of the most important pianists on the New York scene for some forty years; the Norwegian saxophonist Tore Brunborg (Manu Katché, Nils Petter Molvær) captivates the ear with his extraordinary sound and lyricism; trumpeter Ralph Alessi (Ravi Coltrane, Fred Hersh) is, according to his peers, one of the most brilliant trumpeters on the international scene; drummer Fabrice Moreau (Airelle Besson, Trio Viret), Kerecki’s partner on his last two albums, has worked closely with him for many years. Kerecki’s own sensitivity comes fully into play with such a line-up and allows abundant room for interaction with such star players. His melody-based numbers include subtle references to the lyrical jazz of the 1970s that marked his early years.

Niemandsland is Matthias Meyer's first own album. The international quintet (Larsen is Danish and Braylovskiy Russian) is his first own group. This seems amazing given the maturity of the compositions and arrangements, the density of the interplay as well as the collective spirit and individual class. One reason is certainly the freshly won, purposefully implemented artistic self-image of the bandleader. The close connection between the band members is just as important.

From a formal point of view, this is a classical jazz quartet line-up, complemented by a string quartet. Shogo Seifert considers the group to be a unit of eight and has composed for them accordingly. A rather handcrafted, rationally "technical" approach is foreign to him. "I need an emotional connection to transfer energy into music."

Continuing a century of mutual inspiration between two vast and interlocking musical worlds, Reverso further explores the interface between jazz and classical music. After Suite Ravel, a first album inspired by the music of Maurice Ravel, The Melodic Line in homage to the composers of ‘Les Six’, and the release of a live album recorded at Le Triton in Paris, the transatlantic chamber jazz ensemble formed by American trombonist Ryan Keberle, Franco-German pianist Frank Woeste and French cellist Vincent Courtois now investigates the output of another exciting French composer, Gabriel Fauré. Reverso blends ‘pulsating motifs, long painterly lines, open fields and pointillist statements into a fascinating whole’ (JazzTimes). After so many concerts and tours, the undeniable chemistry of the ensemble, the mutual confidence between the musicians and their magnificent musical production are fully in evidence. It’s a fair bet that the new album will be worthy of its predecessors!

The saxophonist's tone and expression are consistently captivating, regardless of whether on the alto or the soprano sax. His playing does not lose it's warm, vocal, narrative quality even in intense pieces and passages. "Out In Space" is an impressive step forward for the saxophonist.

Captivating trance jazz trio with it's own sound. Between dream and trance: magical trio around guitarist Christy Doran. Trust in the power of trance.

Masterfully arranged unity of trio and string quartet. Fresh and smooth: new album by the German jazz man from Switzerland. "Caravan", a petal and the women: Joe Haider bows before them. Swinging dreams: old master Joe Haider at his best.

Referring to a musical work of the century such as George Gershwin's popular opera "Porgy and Bess" entails enormous risks. This is especially the case when this popular work has spawned many ubiquitous song classics. Hans Ludemann also believes: "You have to have a good reason to tackle this" and, of course, a coherent concept for a new, own approach. This has succeeded brilliantly with "Porgy's Dream". The very personal homage of Ludemann and trumpeter Reiner Winterschladen is not content with competent interpretations in the usual jazz style. The duo is based on selected themes and unfolds an intense atmosphere in it's freely interpreted pieces, which thoroughly lives up to the original work.

In Germany in particular, a lot of folk culture, especially folk music, has fallen into disrepute, so that the whole thing sometimes has a not inconsiderable bitter taste. And the word "folklore" is used almost pejoratively. For me, folklore has a positive connotation in the sense of something, a fashion, tradition, festivity, discipline, an occasion, food, dance, play, music, religion,... which is able to connect different generations or social and cultural origins. The word folklore actually describes one of the target ideas, where and how the music should end up. It is meant more as a kind of wish, a "blessing wish", for the music of our trio.

No half-way measures: high-class debut of a German-Dutch sextet. Between Barcelona and Arnhem: strong debut of the band of Maximilian Hering. Butter on the herring-straight to the point: multi-layered debut with personal touch.

In music, the new is only created by looking at tradition; the talent that comes with it only matures through mastery of the craft. The new album 'Purple Sky' by guitarist and composer Vlado Grizelj is a perfect example of how the balance of these two artistic driving forces can lead to a rousing result. His love of the funk and soul of the sixties and seventies is expressed very strongly.

Saxophonist Sigurdur Flosason has been one of Icelands most active jazz musicians for the past decades. Through out his career he's cooperated with some of Scandinavia's finest musicians. On his latest release, Blue shoes, his partners are Danes Kjeld Lauritsen on Hammond organ and Kristian Leth on drums, both of whom he has cooperated with on previous releases. New to the mix is the outstanding Swedish guitarist Erik Soderlind. On a few tracks they are joined by Danish percussion master Birger Sulsbruck. The music, all Flosason's originals, is a cross between jazz and blues with a personal and nordic twist. The album was recorded at Village recording in Copenhagen during the summer of 2025. Sigurdur Flosason has recorded over thirty CDs and is a multiple winner of the Icelandic music awards.

Anthony Ferrara’s fourth SteepleChase release, Straight Into The Sun Vision, marks a striking new chapter for the rising tenor saxophonist. After three acclaimed albums: SCCD 31920 Early Spring, SCCD 31932 Cold Faded and SCCD 31975 Factory Fresh with his “dream team” veteran rhythm section, Ferrara now leads a working quartet of peers whose shared history brings a fresh cohesion to his music. In a familiar group of contemporaries the performances took to a newly open personal level of expression. Ferrara’s original compositions range from high velocity, odd meter burners to lyrical, atmospheric pieces, all unified by his distinctive voice and narrative improvising. Two vocal features reveal yet another facet of his artistry, including the reflective title track penned by Ferrara. Straight Into The Sun Vision captures a rapidly maturing artist stepping fully into his sound—bold, inventive, and unmistakably his own. “What is particularly impressive about Ferrara is that he not only has a mature, confident and appealing sound, but also is finding his own voice. Ferrara is also a capable composer, penning a diverse set of songs that invite repeated hearings, a huge challenge for any musician at the beginning of their career.” (Ken Dryden – NYCJR on SCCD 31938 Cold Faded)

Captured live at Ann Arbor, Michigan’s renowned jazz club Blue Llama in June 2024, David Janeway presents himself at the height of his powers, joined by the world class rhythm team of Robert Hurst III and Billy Hart. A Detroit bred musician with a deep lineage in that city’s storied jazz tradition, Janeway channels decades of mentorship, swing, and blues rooted expression into a set that is both powerfully modern and historically grounded. The trio’s telepathic interplay fuels inventive takes on standards, luminous ballads, and Janeway’s distinctive originals, all delivered with the group’s tightly converging sound and emotional depth that define his artistry. Following acclaimed SteepleChase releases with Hart and Cameron Brown, this live recording stands as Janeway’s most vibrant statement yet—an inspired document of three master musicians creating in the moment. “It is no small feat to say that not only is Janeway’s playing sparkling but so is his ability to write tuneful compositions.” Michael P. Gladstone, All About Jazz Review

During the darkest of the lockdowns, I took my daughter to an open field near our home. In a time when the world felt shuttered and small, walking was our only escape from the suffocating stillness. As we reached the field, a sudden sensation washed over me-a quiet awakening. It wasn't just the spring breeze or the scent of the grass; it was a sudden reminder of what being alive meant. I felt I had been touched by Zephyr, the Greek god of the west wind, sparking a renewed wish to create and perform for the world once more. Liberte�: A piece exploring and searching for emotional freedom. Zephyr: Named after the gentle west wind, this track served as the primary source of inspiration for the entire album. Fushigi no Kuni: Translating to "Wonderland" in Japanese, this piece was inspired by Alice's Adventures in Wonderland written by Lewis Carroll. A Troubadour in the Moonlight: A composition and improvisation depicting a minstrel serenading a loved one beneath the moon. For Misato: A heartfelt dedication to Misato-san, my dear friend who departed too young. The five songs above are composed by Yukari. Eurus, Suibokuga, Pandora's Box, Don't Follow the Piper, and Au cr�puscule are collective improvisations.

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.

Lovisa Jennervall - vocals Manne Skafvenstedt - piano, synthesizers August Eriksson - double bass, electric bass Edvin Glante - drums, percussion

Invitation