A melody you never heard before takes you back to a place where you have never been. Immediately, from the first notes of Traveller’s Ways, you as the listener feel that wondrous combination of familiarity and astonishment. On this magnificent album, Somsen, Pieranunzi and Mirabassi create music that feels like coming home and at the same time leads to numerous unknown destinations you have never visited before.

Once the West and Japan were not familiar with one another. But today, in the 21st century, the two worlds which are so very different can come a little closer to each other. We learn, wonder, and discover different cultures, lifestyles, nature, architecture, images and sounds. Fumio Yasuda’s music comes from modern Japan, which already opened up to the West in the 18th century. Yasuda studied classical music with a preference for Karl Amadeus Hartmann. From childhood he grew up with Western pop and jazz music, yet was still deeply rooted in the Japanese tradition. Time, space, and infinity play an important role in his music. In his scores there are no pause signs like in Western music, but signs of silence between lyrical, deeply poetic tones and chords that tell stories about Japanese landscapes, rain, forests, fog, longings and eternity. Yasuda works in a deep musical understanding with Joachim Badenhorst, Nobuyoshi Ino and Akimuse. His gentle piano sounds unite with the sounds of the clarinet, the plucked bass strings, and the tender voice of Akimuse.

Described by critics as beyond category, to use Duke Ellingtons signature compliment (All About Jazz), Japanese marimba extraordinaire Mika Stoltzman brings her wealth of experience to her latest Mikarimba album, Big Round Records Taperebá. Vibrant and bursting with flavor (just like the Brazilian fruit which the album derives its title from), the jazzy Taperebá features performances by Stoltzman and a circle of legendary fellow artists. With over 25 Grammy Awards shared between the members on this record, a memorable listening experience is practically guaranteed. Taperebá brings notable names from around the globe and a spectrum of musical experiences into one collection. Featuring the likes of Stoltzman, her husband and Grammy Award-winning clarinetist Richard Stoltzman, and a lineup including the legendary bassist Eddie Gomez, iconic percussionist Steve Gadd and his son Duke, and Brazilian mandolin great Hamilton de Holanda, the album leads audiences through a lighthearted yet technically spellbinding listening experience with just the right amount of flare. Each piece on the album was either written or arranged for Stoltzman, such as the Paul Simon classic 50 Ways to Leave Your Lover, arranged by Steve Gadd (who, not to mention, played drums on the original Simon version). From this, to Return to Bahia written specifically for Stoltzman by Bill Douglas, an arrangement of Chick Coreas Spain, and more, Taperebá altogether moves listeners through a kaleidoscope of 20th and 21st-century jazz, popular music, and more. Taperebá is many things: a collection of works by legends past and present, a celebration of rich and diverse styles, and a group of friends making beautiful music together. However one connects with the music most, Taperebá is an experience not to be missed.

The first recording in our cpo SYMPHONIC JAZZ SERIES with the WDR Radio Orchestra of Cologne is entitled American Connection. Concertos for jazz clarinet by Jorge Calandrelli, Daniel Freiberg, and Jeff Beal are heard in performances with the world-famous clarinetist Andy Miles. Andy Miles is one of the youngest representatives of a guild whose members received posts as solo clarinetists in German orchestras (in his case with the Hamburg Philharmonic). Later he made his way to Cologne as the principal clarinetist of the WDR Radio Orchestra. Thanks to his "wild past" as a saxophonist in rock bands, a tin whistler in folk bands, and a clarinetist in jazz bands, Miles is able to exercise his activity in many musical fields. He numbers among the few genuine crossover musicians who succeed in mediating between classical and jazz music because they feel at home in both of them. The press has called him »the Marco Polo of the Clarinet.« It should also be mentioned that the famous Alan Silverman was in charge of an additional mastering of our recording in the United States. Alan has worked for artists like Norah Jones, Chaka Khan, The Rings, Dolly Parton, and Keith Richards and received more than fifty Grammy Awards. His Art! Mastering, one of the largest and best-equipped mastering studios in New York City, offers first-class analogue and digital outboard equipment and an excellent monitoring system.

The CONTACT 4TETT plays experimental improvised music with elements of Jazz, Art Rock, Modern Chamber Music and Sound Art. The history of CONTACT 4TETT begins in 1970, when bassist Alois Kott, drummer Michael Jüllich and clarinetist Theo Jörgensmann formed the CONTACT TRIO. After initial small successes, the group played as a newcomer at the Frankfurt Jazz Festival and toured several times through southern Germany and Switzerland, but the band broke up after two years. Theo Jörgensmann was replaced by guitarist Evert Brettschneider, with whom the group had already worked in an extended line-up. This occupation was internationally successful.

At the beginning of 1980, Michael Jüllich left the CONTACT TRIO, which was also one of the first progressive, professional jazz groups in the Ruhr area and had released 3 LPs by then. With Peter Eisold on drums, the group played until 1984 and then disbanded. Since 2015 there has been a new edition of the band as CONTACT 4TETT, which includes the former soloists in the band Theo Jörgensmann, who now plays alto clarinet, and Evert Brettschneider. New members are Kai Kanthak, electric bass and Sascha Sauerborn, drums and electronics. The CD WUNDERTÜTE is the first by CONTACT 4TETT for the label jazzwerkstatt.