Her first inspiration was Charlotte Bienaime�'s 'Un podcast a' soi', which discusses fundamental questions of gender and feminism. "More often than not in history, 'Anonymous' was a woman"-this sentence by Virginia Woolf, epigraph to the famous radio podcast, has found an echo in Julie Campiche. Giving a voice to women, but in a distinct way: this is the common thread running through the album. Rather than a feminist manifesto, UNSPOKEN seeks to celebrate feminine strength, nourished by commitment and openness. She addresses the fragile balance of women in shadow and light of society. "Female strength is what makes the world go round. 80% of household chores are done by women for free and anonymously. I want to celebrate exceptional women, but also give a place to this everyday strength." Among the figures who inspire her and whose voices and actions she evokes are the Swiss artist and prostitute Grise�lidis Re�al, or Las Patronas, the Mexican guardian angels who throw food and water to those who have decided to migrate and illegally board freight trains bound for the USA.

Amanda Ginsburg & Andy Fite

Swedish bassist and composer Thommy Andersson makes his long-awaited SteepleChase leader debut with Shimmering Blue, a striking trio recording featuring Kirk Knuffke (cornet) and Jos� Davila (helicon, tuba, didgeridoo, euphorium, and bass flute). Known for his work with Pierre D�rge's New Jungle Orchestra, Andersson now steps forward with a highly personal sound world-drumless, low-brass rich, and full of lyrical nuance. Drawing on his background as a trombonist and cellist, Andersson crafts compositions that shimmer with color and emotional depth. From rustic tone poems to avant-garde textures, the album explores space, resonance, and melodic interplay with chamber-like intimacy. Critics have praised his "supremely weighted bass playing" and ability to "facilitate exalted music." Shimmering Blue is a bold, poetic statement from a seasoned artist-grounded in Nordic tradition, yet open to global textures and sonic surprise.

All the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story - one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning. The opening track, "Wu Wei," sets the tone. A central concept in Taoist philosophy, Wu Wei translates to "non-action" - not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence. "One" speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together - a shared humanity that transcends our differences. "Home" represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it's something they must find or create. But for all of us, the feeling of home is essential to live a fulfilled life. "Reflections in the Water" is an introspective piece - a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me. "Seven Virtues, Seven Sins" explores the dualities of human nature - the push and pull between good and evil, right and wrong, light and shadow. It's a reflection on the moral questions we all face and the deeper quest for inner truth and balance. In "Samsara," the cyclic nature of existence is made audible: life, death, and rebirth - endlessly repeating. It reminds us that every end carries the seed of a new beginning. "Blues for Sadako" is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war. The final track, "Healing," is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing - a return to compassion, empathy, and wholeness. Throughout this album, I've tried to express something honest - something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding - just like a flower grows, slowly and naturally, in it's own time. You cannot force growth. You cannot force mastery. The moment you think you've arrived, life will humble you. There is no final destination - only the ongoing path. Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept - to let go, and to allow life to unfold. This is the essence of Wu Wei. To move in harmony with the world, to follow your inner voice, to grow in all directions like a tree, to live fully in the present - this is not just a philosophy, but a way of life. This album is an invitation to listen - not just to the music, but to yourself. - Aseo Friesacher

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.

Pierre-Antoine Savoyat couldn't have found a better title for this second album! Thanks to his subtle way of contemplating and embellishing space and sound as a composer and as trumpet player, Thousand Shades of a Clown reveals personal and refreshing music with a kaleidoscopic imagination, effervescent with colours and emotions. The veil of the clown's mask gradually *fades away* to reveal the essence of his art: tenderness, generosity and humility. Much like a sleeping volcano, we enjoy a poetic quietness always bounded with a boiling energy underneath the surface. Sometimes, Pierre-Antoine allows us to witness an unannounced eruption, before returning to a feeling of deep peace through the beauty of a masterful sound. His characteristic kindness probably hides a passionate fire and his humanist commitments in search of truth are never far away; perhaps even constituting the lifeblood of this work in which the stories of his life untangle and detangle. His desire to make the world a more wonderful place is expressed through the poetry of lyrical musical gestures, supported and propelled with intensity by his faithful accomplice, pianist Simon Groppe, a true chameleon of the keyboard. Their surprising and precise articulations are extended with equal finesse by Fil Caporali on double bass and Oscar Georges on drums, forming a perfectly harmonized quartet. Between his solitude and the absurdity of the world, Savoyat has forged a masterful and compelling musical language, bringing with him guests with boundless imagination and crystal-clear ideas, true nuggets of pure gold like those old-time-alchemists dreamed of: Alexandra Grimal, with her majestic saxophone sound; Lucia Pires, with her light and dauntless flute; and Lynn Cassiers, captivating with her unique vocal and artistic universe. Therefore, the album takes on a plural form in a counterpoint of shared stories, styles and times without ever losing the coherence of a common discourse. Pierre-Antoine weaves the whole together with the care of a goldsmith and through his fluid and mysterious intonations - where the 'between' naturally becomes the 'inside' - he blossoms into space like a tightrope walker defying the laws of gravity. Each piece of music has it's own specific touch; the titles speak for themselves, sprinkled with melancholy and filled with warmth. Comforting like a refuge where you are always In good company - as in the lyrics of Lynn Cassiers - this album could even become one of those with which you live, breathe, and through which you open the windows of your inner universe to get closer to the light in a world that has become far too dark.

Master drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means "chapter" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis. With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords.� Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From it's conception, the trio immediately started developing it's unique essence. With this project, master of rhythm Stephane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.

Jaggat is a band that builds virtuosic sound bridges between chamber jazz and musical traditions from around the globe. Spanish, Indian, Arabic, African, and Latin American influences merge into a powerful and cohesive sonic tapestry, transcending cultural boundaries. The name�Jaggat-derived from Sanskrit for "world"-reflects the ensemble's mission: uniting the rich sounds of diverse cultures into a captivating musical journey rooted in openness and respect for diversity. Their new album demonstrates how tolerance and cultural exchange can give rise to something truly new and beautiful-in music as in society. By weaving together global rhythms, melodies, and traditions, Jaggat creates a sound that is unmistakably their own. At the heart of this musical dialogue are original compositions by guitarist�Markus Conrad�and double bassist�Caspar van Meel, seamlessly intertwined yet unmistakably marked by their individual voices. Percussionist�Afra Mussawisade�enriches the music with his unique instrumentation, laying down both a vibrant groove and a refined sonic foundation. Whether performing as a trio or expanding into a quartet with guest violinist�Christoph Konig, Jaggat unfolds a colorful and wide-ranging spectrum of sound. Their music reveals that diversity not only enriches but also inspires.

Originally released in 1979 and reissued on CD in 1996 with bonus material, G1128 stands as a vibrant snapshot of two masterful trumpeters-John McNeil and Tom Harrell-at a pivotal moment in modern jazz. Now, for the first time, this landmark session returns in stunning 24bit/96kHz remastered fidelity on heavyweight 180g vinyl, preserving the warmth and swing of the original analog tapes. Backed by a stellar rhythm section featuring Kenny Barron (piano), Buster Williams (bass), and Billy Hart (drums), McNeil and Harrell engage in a spirited, lyrical dialogue that's as respectful of tradition as it is forward-looking. Their interplay is marked by mutual admiration rather than rivalry-Harrell's bright, unflappable tone contrasts beautifully with McNeil's introspective, saxophone-inspired phrasing. For audiophiles, collectors, and jazz devotees alike, this is not just a reissue-it's a rediscovery. "... it's never a duel of trumpets here but it's the duet of trumpets... When the two trumpeters share technique and inspiration, one cannot but enjoy the inevitable result... " (Alain Tercinet, JAZZ HOT).

Following the critical acclaim of The Talisman (SCCD 31955), alto saxophonist Dave Pietro returns with The Butterfly Effect, his second release on SteepleChase-a label that has become a vital platform for his richly inventive voice. A veteran of ensembles led by Maria Schneider, Toshiko Akiyoshi, and Gil Evans, Pietro continues to command attention as a composer and bandleader whose work is both intellectually rigorous and emotionally resonant. Returning collaborators include pianist Gary Versace, whose kaleidoscopic soloing adds depth and color, and bassist Jay Anderson, whose expressive lines anchor the group with elegance. Trumpeter Scott Wendholt and drummer Adam Cruz round out the lineup, each contributing dynamic performances that elevate Pietro's compositions. His writing is marked by intricate counterpoint, unexpected harmonic shifts, and a deep sensitivity to ensemble interplay. Pietro's music balances complexity with clarity. The Butterfly Effect is more than a follow-up-it's a statement of artistic evolution. Where The Talisman introduced Pietro's voice to a broader audience, this new release deepens the narrative, offering a compelling blend of lyrical beauty, structural sophistication, and improvisational fire. "Pietro has great chops and a profound imagination, and possesses a warm, accessible, lyrical sound..." (Lee Lowenfish - New York Jazz Newsletter)

SteepleChase Records proudly presents the debut album of drummer Matt Garrity, a long-standing figure in the New York jazz scene whose artistry has matured over three decades of collaboration with legends such as Joe Lovano, Vincent Herring, and Joel Forrester. Suits and Scotches captures the essence of Garrity's musical journey, featuring original compositions and fresh interpretations of jazz standards performed by his seasoned quartet, which delivers a cohesive and swinging set that reflects both tradition and innovation. Garrity's path diverged from the 1990s "Young Lions" wave, yet his commitment to the craft never wavered. After relocating to Woodstock, NY (originally from Ithaca, NY), he founded Barnstock, a vibrant performance space that has become a Hudson Valley jazz hub. Encouraged by bassist Ambrosio and connected to SteepleChase producer Nils Winther, Garrity finally steps forward as a leader and composer.

A long-awaited release that features the late guitar master at his most lyrical and inventive was recorded in January 2017 but held back until now. This session, led by vibraphonist Tony Miceli, is a poignant tribute to Vic Juris's boundless musicality and deep connection to the jazz tradition. Inspired by the spirit of Django Reinhardt and the Hot Club legacy, the quartet reimagines classic French repertoire with fresh arrangements and modern interplay. The interpretations of "Nuages" and "La Vie en Rose" are especially moving, revealing a depth of emotion that resonates even more powerfully in light of his passing. Miceli, who spearheaded the project, recalls Juris's uncanny ability to absorb and reproduce any tune - "like an iPod with soul." This recording, lovingly restored by SteepleChase producer Nils Winther, transforms what was once a shelved session into a sonic gem. It stands as both a celebration of Vic Juris's artistry and a testament to the enduring power of collaboration. Incidentally, Miceli's witty and heartfelt liner notes read as an ode to Vic, the stellar artist.

A Timeless Form, Reimagined for Today With Ya Man Itha, Lebanese singer Rima Khcheich brings to life an album she has carried in her heart for decades. It is a deeply personal tribute to the late Egyptian composer Fouad Abdel Majeed, whose music shaped her artistic voice from an early age. In this recording, Rima revisits ten of Abdel Majeed's Muwashahat-classical Arabic vocal compositions often set to poetry and marked by intricate rhythms and modes-and places them in dialogue with the colors and sensibilities of French chanson. At first glance, chanson may seem far removed from the Arabic Muwashah, yet both traditions share a deep commitment to poetic expression, lyrical nuance, and the marriage of words and harmony. This cross-cultural resonance became the spark for the ensemble's refined arrangements, created by Maarten Ornstein, Tony Overwater, and Juan Rodriguez.

Brazilian songstress Ros�lia de Souza joins forces with pianist Peter Rosendal (Denmark), bassist Craig Earle (Canada), and drummer Jonas Johansen (Denmark) to form Ros�lia de Souza Quarteto 55�, presenting their self-titled debut album of twelve tracks, set for release on November 14, 2025, on Storyville Records. This vibrant ensemble blends Brazilian, North American, and Scandinavian musical traditions into a fresh, irresistible sound. After three years of sold-out concerts, the album promises a musical experience that radiates energy, sophistication, and joy. The album balances original compositions with Brazilian classics, brought vividly to life with guest appearances. Hans Ulrik's saxophone enriches the opening Samba Do Amor Que N�o Existe, the classic O Neg�cio � Amar, and the reflective Dormilh�o, while Flemming Agerskov contributes flugelhorn on Maria and trumpet on Sugar Reef. Tracks such as Choro Sambado and Dorme, Dorme Meu Menino showcase the quartet's fluid interplay and Ros�lia's agile phrasing, highlighting a unique blend of bossa nova elegance and jazz spontaneity. Named after Copenhagen's latitude, 55� reflects the group's geographical and cultural meeting point, where diverse traditions converge. Born in Rio de Janeiro in 1966, Ros�lia de Souza is recognized worldwide as one of the most compelling interpreters of samba, bossa nova, and Brazilian music traditions. With thirteen albums to her name, she has collaborated with icons such as Marcos Valle and Roberto Menescal, bringing the essence and refinement of 1960s Rio into the present. Her performances are infused with silk-smooth vocals, precise control, and a modern sensibility, bridging deep-rooted Brazilian tradition with explorations into jazz. The trio supporting Ros�lia adds distinctive character and depth. Peter Rosendal blends folk, world, and jazz influences, enriched by his extensive experience living and recording in Brazil. Craig Earle anchors the group with a warm, agile, and virtuosic bass sound. Jonas Johansen, whose career spans more than four decades and over 200 albums, brings orchestral precision and a truly global perspective to the music. After years of international performances, Ros�lia de Souza Quarteto 55� is ready to bring their unique sound to the global stage, inviting audiences everywhere to experience Brazilian jazz reimagined through cross-cultural collaboration.

The acclaimed Danish jazz trio Ginmanblachmandahl, consisting of pianist Carsten Dahl, bassist Lennart Ginman, and drummer Thomas Blachman, return with the album Play Ballads, a collection of fifteen jazz standards rendered in their signature, contemplative style on Storyville Records. The trio's deep musical rapport is immediately apparent. Each note and silence is measured with care, revealing a rare comfort and understanding cultivated over decades of collaboration. Play Ballads is distinguished by it's contemplative approach to well-known standards such as Matt Dennis' Angel Eyes, Vernon Duke's Autumn in New York, Billy Strayhorn's Take the "A" Train, Thelonious Monk's Blue Monk, and Duke Ellington's Satin Doll. Each track is performed at deliberately slow tempos, allowing the trio to explore the subtle beauty and emotional depth of each melody. Dahl's piano often leads with sensitive, improvisational statements, while Ginman's bass and Blachman's drums provide understated yet essential commentary. Highlights include a sparse and intimate Angel Eyes, the reflective melancholy of Gone with the Wind, and a subtle reinterpretation of Ellington's Things Ain't What They Used to Be. The album reveals new facets of these standards, balancing tradition with innovation and showcasing the trio's ability to make each melody their own. Their shared history stretches back to the late 1980s, encompassing projects with Page One, Thomas Agergaard, Claus Hempler, and numerous individual recordings. Separately, they have worked with American jazz luminaries including Ed Thigpen, Joe Lovano, and Eddie Gomez, and together they have explored standards and original compositions across multiple albums since 2004. Play Ballads is a testament to the trio's mastery, musical intuition, and their ability to make every note and every silence count. This album is not only a must-listen for longtime jazz aficionados but also an invitation for new audiences to experience the artistry of three of Denmark's finest jazz musicians at the height of their powers.

Recorded live in concert at the Krematoriet, Stockholm, on 12 October 2024. Recorded by Adam Forkelid. Mixed and mastered by Klaus Scheuermann, 4ohm Berlin. Photos by Joona Toivanen (front cover) and Fredrik Gille. Cover design by Jonas Holmberg

Recorded live in concert at the Krematoriet, Stockholm, on 12 October 2024. Recorded by Adam Forkelid. Mixed and mastered by Klaus Scheuermann, 4ohm Berlin. Photos by Joona Toivanen (front cover) and Fredrik Gille. Cover design by Jonas Holmberg

Storyville Records proudly announces the release of Never Say Yes - 1986, a previously unreleased live-in-studio recording by the Doug Raney Quartet, captured in Studio 3 at the Danish Broadcasting Corporation on January 9, 1986. The album features Doug Raney on guitar, Ben Besiakov on piano, Jesper Lundgaard on bass, and Finnish drummer Jukkis Uotila. Set for release on October 24, 2025, Never Say Yes - 1986 offers seven tracks of inspired modern jazz, full of interplay, elegance, and technical brilliance. Doug Raney, the son of jazz guitar legend Jimmy Raney, carved out a distinctive path of his own, particularly within the vibrant Scandinavian jazz scene, where he lived and worked for decades. This recording, unearthed from the archives of the Danish Broadcasting Corporation, captures Doug in strikingly fine form following a return to health, backed by some of the most intuitive players on the Scandinavian scene. "He had an incredibly refined technique on the guitar, I'd almost call it organically innate, " writes bassist Jesper Lundgaard in the liner notes. "His playing felt like an extension of his personality, effortless, and yet grounded in a deep understanding of jazz's inner architecture, which is so difficult to truly master. Doug had a special ability to voice chords, and in my opinion, there was a beauty in his soloing that only very few possess." The session was the culmination of a brief Danish tour and showcases Raney's wide-ranging repertoire, from the burning drive of John Coltrane's Giant Steps to the aching beauty of I'm Old Fashioned and a soulful take on Nat Adderley's title track. Raney's melodic instinct, rhythmic command, and harmonic depth shine throughout, with dynamic support from Besiakov, Lundgaard, and Uotila. Despite his remarkable talent, Doug Raney remains a somewhat overlooked figure in modern jazz. With this release, Storyville Records shines a new light on a singular voice whose artistry remain as vital and moving as ever.

Twenty years after their acclaimed trilogy, Eric Rasmussen and his long-standing quartet return with School of Tristano 4-a revelatory deep dive into the compositions and aesthetics of Lennie Tristano, Lee Konitz, and Warne Marsh, paired with striking originals. Drawing from decades of study, stage experience, and personal connection, Rasmussen's quartet reinvents this rich, often-underrepresented repertoire with stunning clarity, warmth, and spontaneity. While the album brims with telepathic interplay and ensemble finesse, Rasmussen's alto saxophone sings with a personal voice, never imitative, always rooted in the language of deep jazz tradition but reaching forward. Guitarist Nate Radley, bassist Dave Ambrosio, and drummer Mark Ferber bring unmatched sensitivity, groove, and lyrical depth. School of Tristano 4 offers both serious jazz heads and adventurous listeners a fresh insight into classic modernist repertoire-an album that resonates with the spirit of Tristano while speaking entirely in the quartet's own voice.

Avant de devenir le maestro des bandes originales cultes comme Mission: Impossible ou Bullitt, Lalo Schifrin etait un virtuose du piano et un grand innovateur du jazz et de la bossa nova. Avec un sens de l'arrangement dej� exceptionnel, il arrange et compose pour Dizzy Gillespie ou Quincy Jones. Ce coffret 3 CD, realise par Olivier Julien reunit les premiers enregistrements publies sous son nom et nous plonge dans les debuts eclatants d'un jeune pianiste de jazz argentin lumineux, en passe de devenir l'un des plus grands compositeurs d'Hollywood. Patrick FReMEAUX Before he became the maestro of iconic film scores like Mission: Impossible or Bullitt, Lalo Schifrin was already a piano virtuoso and a major innovator in jazz and bossa nova. With an already exceptional knack for arrangement, he arranged and composed for Dizzy Gillespie and Quincy Jones. Curated by Olivier Julien, this 3-CD box set brings together the first recordings released under Schifrin's name, offering a captivating glimpse into the brilliant early days of a young, luminous Argentine jazz pianist on the cusp of becoming one of Hollywood's greatest composers. Patrick FReMEAUX CD1 : RENDEZ-VOUS DANSANT � COPACABANA AVEC LALO SCHIFRIN, SON PIANO ET SES RYTHMES - MOULIN ROUGE - LES OIGNONS - FASCINATION - CABELLO ROJO - MON HOMME - MAMBOP - PIGALLE - SeReNADE MeDITERRANeENNE. SPECTRUM - RED SAILS IN THE SUNSET - AZURE - THE MOON WAS YELLOW - RUBY - BLACK BEAUTY - WHEN THE WIND WAS GREEN - BROWN PRELUDE - WHITE ORCHIDS - BLUE IS THE NIGHT - SCARLET RIBBONS (FOR HER HAIR) - PURPLE PASTEL. CD2 : PIANO ESPA�OL - FRENESI - THE BREEZE AND I - CAPRICHO ESPA�OL - MY SHAWL - CARAVAN - MALAGUENA - CHA CHA CHA FLAMENCO - WARSAW CONCERTO - HULABLUES - JUNGLE FANTASY - ALL THE THINGS YOU ARE - EL CUMBANCHERO. LALO = BRILLIANCE (THE PIANO OF LALO SCHIFRIN) - THE SNAKE'S DANCE - AN EVENING IN SAO PAULO - DESAFINADO - KUSH - RHYTHM-A-NING - MOUNT OLIVE - CUBANO BE - SPHAYROS. CD3 : BOSSA NOVA, NEW BRASILIAN JAZZ - BOATO - CHORA TUA TRISTEZA - POEMA DO ADEUS - APITO NO SAMBA - CHEGA DE SAUDADE - BOSSA EM NOVA YORK - O AMOR E A ROSA - O MENINO DESCE O MORRO - MENINA FEIA - OUcA - SAMBA DE UMA NOTA SO - PATINHO FEIO (UGLY DUCKLING). PIANO, STRINGS AND BOSSA NOVA - THE WAVE - INSENSATEZ - YOU AND ME (VOCE E EU) - LALO'S BOSSA NOVA (SAMBA PARA DOS) - SILVIA - MURMURIO (MURMUR) - MARIA - RAPAZ DE BEM - SAMBA NO PERROQUET (PARROT SAMBA) - RIO AFTER DARK - TIME FOR LOVE - I'm LOOKING OVER A FOUR-LEAF CLOVER. BONUS CD3 : QUINCY JONES ET LALO SCHIFRIN - SOUL BOSSA NOVA - LALO BOSSA NOVA. DIRECTION ARTISTIQUE : OLIVIER JULIEN

Irma Neumuller & Seth Sjostrom are two Swedish jazz musicians and composers based in Berlin. Their collaboration began as early as 2020 at Skurups Folk High School, where they quickly connected through their shared love of jazz and improvisation. In this project, they come together in an intimate duo setting, interpreting jazz standards, original compositions, and selected favorites from the Swedish pop and folk music repertoire. The contrasts between Irma and Seth-both as musicians and as individuals-are explored. The result is a unique and intimate sound that sheds new light on both the compositions and themselves. Over the past few years, Irma and Seth have performed in various ensembles across Sweden and the rest of Northern Europe, and both have made a name for themselves on the Nordic jazz scene.

Avec Mes Soeurs, Stephanie prend le contrepied de son premier album : plus sombre, plus epure, plus urgent. Ce nouveau disque explore � la lumiere du crepuscule les themes chers � l'artiste : le desir, la fuite, l'�tre au monde. La voix s'y libere, fr�le parfois le parler, au coeur d'arrangements ciseles par Fred Pallem, � la maniere d'une Marie Lafor�t passee par Berlin-Est. Une matiere vive et sensuelle, o� l'elegance de l'orchestration revele la tension et l'energie des textes. Patrick FReMEAUX With Mes Soeurs, Stephanie takes the opposite tack to her first album: darker, more refined, more urgent. This new record explores, in the twilight, themes that the artist holds dear: desire, escape, being in the world. Her voice is liberated, sometimes verging on speech, at the heart of arrangements crafted by Fred Pallem, in the style of a Marie Lafor�t who has passed through East Berlin. It is lively and sensual material, where the elegance of the orchestration reveals the tension and energy of the lyrics. Patrick FReMEAUX AMOUR CHARNEL - MES SOEURS - IL N'Y A PAS D'AILLEURS - SOUVIENS-TOI - CHACUN POUR SOI (RADIO EDIT). eCRIT ET COMPOSe PAR Stephanie Acquette - ARRANGe ET ReALISe PAR FRED PALLEM

Voici un temoignage eclatant de la virtuosite et de la complicite entre deux figures majeures du jazz francais, le pianiste Martial Solal et le trompettiste eric Le Lann. Les deux artistes ont developpe une connivence musicale unique, un dialogue spontane, quasi-telepathique, qui se caracterise par une liberte totale, une ecoute mutuelle exceptionnelle et une prise de risque constante. "Portrait in Black and White" est une conversation � la fois intime et audacieuse entre deux geants, capturee dans l'instant magique et suspendu d'un concert. Augustin Bondoux / Patrick Fremeaux Solal et Le Lann ne jouent ni du son ni du souffle, encore moins de la virtuosite. Ils jouent la musique (.). Se laisser embarquer. Oublier la technique, la performance et passer � l'essentiel Francis Marmande, Le Monde Ensemble, le pianiste et le trompettiste vont au bout de leur individualisme Alain Gerber, Diapason Here is sparkling evidence of the entente and virtuosity that can exist between two major figures in French jazz, namely pianist Martial Solal and trumpeter eric Le Lann. Each of these artists has developed a unique understanding of the other, enabling them to construct spontaneous, almost telepathic conversations whose principal quality is total freedom, a liberty of expression fostered by an exceptional ability to hear one's partner while constantly taking risks... "Portrait in Black and White" is one of those conversations, and it has daring and intimate exchanges between these two giants captured live in a magic moment onstage. Augustin Bondoux / Patrick Fremeaux THE MAN I LOVE (GEORGE & IRA GERSWIN) - PORTRAIT IN BLACK AND WHITE (ANT�NIO CARLOS JOBIM) - ROUND ABOUT MIDNIGHT (THELONIOUS MONK) - WELL YOU NEEDN't (THELONIOUS MONK) - BODY AND SOUL (EDWARD HEYMAN, JOHNNY GREEN, ROBERT SOUR ET FRANK EYTON) - LE BLEU D'HORTENSE (eRIC LE LANN) - QUE RESTE-T-IL DE NOS AMOURS (CHARLES TReNET / LeO CHAULIAC) - INVITATION (BRONISLAW KAPER/ NED WASHINGTON) - WHAT IS THIS THING CALLED LOVE (COLE PORTER). MARTIAL SOLAL PIANO - eRIC LE LANN TROMPETTE

After releasing the complete set of Ennio Morricone's Cinema Suites for violin and orchestra on two�albums�(Cinema Suites, A495 and�Cinema Rarities, A554),�Marco Serino now presents world premiere recordings of the Maestro's own arrangements for violin and piano. Marco is joined by pianist Leandro Piccioni, who, like Marco, brings over twenty years of experience working closely with Morricone in his favoured orchestra, Roma Sinfonietta. These original arrangements, all from celebrated soundtracks,�represent the point of departure for an original anthology in which the two musicians investigate the wider repertoire connected to the cinema.�Cinema Memories�ranges from works that have since become classics such as the�Three Pieces from Schindler's List�by John Williams to Bernstein's�West Side Story Suite, one of the outright masterpieces of musicals on film, and Myroslav Skoryk's Melody in A minor, a jewel of a piece that has since become a sort of national anthem for the Ukrainian people. It is a programme that interweaves memory and imagination, melancholy and light, dreams and reality, making each listening experience a truly multifaceted experience.

Apres ses debuts remarques dans le jazz, Alexandre Sacha Distel, neveu du celebre chef d'orchestre Ray Ventura, s'oriente vers la chanson. Son charme et sa voix seduisent rapidement le public. en 1958, son tube Scoubidou le propulse au sommet des charts. de 1959 a 1962, Distel enchaine les succes. Il remporte le Grand Prix de l'Academie Charles-Cros en 1959, chante avec Maurice Chevalier, compose pour le grand ecran et devient une ic�ne de la chanson francaise, alliant talent musical et elegance naturelle. Patrick FReMEAUX After a stunning debut as a jazz guitarist, Alexandre "Sacha" Distel, the nephew of famous French bandleader Ray Ventura, turned to the world of songs, where his voice and good looks quickly attracted a large audience. In 1958 he had an enormous hit with the song "Scoubidou" that catapulted him to the top of the charts. In 1959 he won the "Grand Prix de l'Academie Charles-Cros", and for the next three years he enjoyed one hit after another. He would sing with Maurice Chevalier and compose songs for films before becoming an icon in popular music with a unique combination of musical talent and natural elegance. Patrick FReMEAUX CD1 (1957-1959) : Sacha Distel CHANTE : TOUT BAS (SPEAK LOW) - CHEVEUX DANS LE VENT - QUAND J'Y PENSE - LA FIN D'UN ROMAN D'AMOUR - MA CHeRIE SI JOLIE (TAMMY) - MALADIE D'AMOUR - INSENSIBLEMENT - FASCINATION - ROSE D'OR - LE TOUR DU MONDE (AROUND THE WORLD) - QUAND TU VIENS CHEZ MOI... MON COEUR - QUELQUE CHOSE EN TOI - L'eTANG - TIENS ! TIENS ! TIENS ! - UN AMOUR COMME LE N�TRE - QUE RESTE-T-IL DE NOS AMOURS ? - PARLEZ-MOI D'AMOUR - SI PETITE O MON AMOUR - GARDE cA POUR TOI (CATCH A FALLING STAR) - LE MUR - La, PReS DE LA FENeTRE (IN THE WEE SMALL HOURS) - DORS MON AMOUR - BRIGITTE - a JAMAIS - BONJOUR CHeRIE. BANDE ORIGINALE DU FILM GIGI : C'EST LA BARBE (AVEC MAURICE CHEVALIER) - TOUT cA N'EST PAS POUR MOI - CEUX QUI INVENTeRENT LE CHAMPAGNE (AVEC MARIE FRANCE GIGI ET JANE MARKEN) - GIGI. CD2 (1959-1961) : Sacha Distel EN PERSONNE : SCOUBIDOU - POMMES ET POIRES - OH ! QUELLE NUIT (LONESOME ME) - QUAND ON S'EST CONNU - CE SERAIT DOMMAGE... (IMPATIENT LOVER) - OUI, OUI, OUI, OUI (GRAND PRIX DE LA CHANSON R.T.F. 1959) - DIS ! O DIS ! (EVERYBODY LOVES A LOVER) - ET QUE cA DURE - JE N'AVAIS PAS COMPRIS. COQ D'OR DE LA CHANSON 1959 : SOPHIE. Sacha Distel N�2 : MON BEAU CHAPEAU - La, PReS DE LA FENeTRE (IN THE WEE SMALL HOURS) - LES CeLIBATAIRES - OUAH ! OUAH ! OUAH ! OUAH ! - PERSONNALITeS - ELLE A LE... ELLE A LA... ELLE A LES... - DITES a L'ORCHESTRE (LA... LA... LA...) - MONSIEUR L'BARON - TOUT cA DEVAIT ARRIVER (EVERYTHING HAPPENS TO ME) - DR�LE DE ReVE (THE PREACHER) - ALLEZ ! VA ! (MY HEART IS AN OPEN BOOK). Sacha Distel N�3 : 20 MADAM' MADAM' - CALIN CALINETTE - LES CARIOCAS, ELLES SONT SI BELLES LES CARIOCAS - OUI, DEVANT DIEU (LA NOVIA) - LE BOOGIE DU BeBe (BABY SITTIN' BOOGIE) - ON DIT, ON DIT, ON DIT - cA C'EST DU POULET - a CAUSE DE TOI (I DON't KNOW WHY) - BYE BYE BABY (BYE BYE BLACKBIRD) - TROIS FOIS LA FRANCE. CD3 (1961-1962) : OUI ET NON - C'EST TOUT, C'EST TOUT (THAT'S ALL) - CATERINA - C'eTAIT PLUS FORT QUE TOUT (I CAN't STOP LOVING YOU) - J'AI UN RENDEZ-VOUS (I WANNA THANK YOU) - SANS TOI - QUE C'EST BON (WELCOME HOME TO MY HEART) - CHANSON SUR UNE SEULE NOTE (SAMBA DE UMA NOTA SO) - GUITARE ET COPAINS (A STEEL GUITAR AND A GLASS OF WINE) - DIS-MOI BARMAN - LES FILLES... MOI J'AIME cA - BON VENT MA JOLIE - PAILLASSE - RIEN DANS LA NUIT. SACHA BOSSA NOVA : ESO BESO - DESAFINADO - VIENS DANSER LA BOSSA NOVA (TING TOUNG) - LOIN DE TOI (RECADO). EVERYBODY LOVES THE LOVER : LET ME LOVE YOU - WHY DON't WE DO THIS MORE OFTEN - MY HEART STOOD STILL - ONCE IN EVERY LIFETIME - I'm IN THE MOOD FOR LOVE - SPEAK TO ME OF LOVE - THE LOVER - IT'S BEEN A LONG, LONG TIME - EVERYBODY LOVES A LOVER - YOU DO SOMETHING TO ME - I CAN't GIVE YOU ANYTHING BUT LOVE - ALMOST LIKE BEING IN LOVE. DIRECTION ARTISTIQUE : OLIVIER JULIEN