Novus Ritus, a CD featuring percussion, voice, live electronics, and interactive video, has been released by Stradivarius. This project is part of MUSIC4D, an initiative of the "A. Scontrino" Conservatory of Trapani, funded by the European Union under the Next Generation EU program, with scientific coordination by Eugenio Catone. MUSIC4D is an innovative project created to explore the intersections between music and technology, redefining the boundaries of education, composition, and performance in the digital age. Conceived by Antonino Errera, Novus Ritus was brought to life through a collaboration between the "A. Scontrino" Conservatory of Trapani and Arizona State University, facilitated by Simone Mancuso and Gabriel Jose Bolanos, professors of Percussion and Composition, respectively, at the university. The tracklist unfolds through four tableaux vivants, animated by the pulse of percussion rooted in archetypal rhythms. The original music is performed by the composers themselves, with the vocal contribution of Irene Sciacca, a student at the Scontrino Conservatory and co-author, alongside Errera, of the vocal lines for the chants, which are performed in four languages: Greek, Latin, Arabic, and Sicilian. The instrumentation includes both ritual Mediterranean instrumentso typical of Morocco and Tunisia and instruments used in classical and avant-garde music, including the sixxen, microtonal instruments designed by the Greek composer Iannis Xenakis. In the album liner notes, Miriam Scotto di Santolo writes: "Filtering, reverberation, granulation, and sound spatialization 'transport' the audio from the present to the remote past, closing the magic circle like contemporary mechanai. Novus Ritus, as the Latin etymology suggests, points to the cyclical nature of an Hypostasis: Rites dedicated to the Moon, the prehistoric Great Mother who appears in the sky each month as a reflection of the Sun as a sickle announcing birth and death, wind and rain, sowing and harvest, in a mystical dance that has always inspired poets, mystics, and artists everywhere." It is an original project with broad geographical and temporal horizons, an evocative listening journey that suggests narratives, stories, and references to be identified and discovered within an intertwining web of auditory and visual impressions.

On September 18, Storyville Records releases a newly remastered edition of Circular Chant, percussionist Marilyn Mazur's 1994 recording made in connection with the Jazzpar Project, featuring new liner notes by saxophonist Fredrik Lundin and new album cover art. Marilyn Mazur (1955-2025) was a singular presence on the international jazz scene. Few percussionists have commanded such a wide range of instruments. She reshaped the role of percussion in improvised music and developed a personal musical language that expanded it's expressive scope. Recorded in March 1994 at Sun Studio in Copenhagen and at the Jazzpar Prize Concert at the SAS Falconer Center, the album documents a specially assembled ensemble featuring Nils Petter Molvær, Per Jørgensen, Michael Riessler, Hans Ulrik, Bugge Wesseltoft, Mikkel Nordsø, Klavs Hovman, Jacob Andersen, and Mazur herself. The album contains 13 tracks in total: nine compositions by Marilyn Mazur and four co-composed group pieces. Although the group was formed for the Jazzpar concerts, the recordings show a high degree of cohesion. The ensemble, often referred to as Pulse Unit, combines composed material by Mazur with ensemble pieces and shorter interludes. Mazur worked throughout her career at the intersection of composition and improvisation, and Circular Chant reflects this approach to ensemble writing and performance. The album places strong emphasis on group interaction, with the ensemble frequently functioning as a responsive collective. The three wind players, Molvær, Ulrik, and Riessler, play a central role throughout, moving between melodic and textural roles. They are supported by Wesseltoft on keyboards, Nordsø on guitar, Hovman on bass, and the rhythmic interplay between Andersen and Mazur on percussion and drums. The recording moves between composed ensemble works, vocal-led sections, electric group passages, and shorter interludes. More than thirty years after it's original recording, Circular Chant stands as a distinctive collaborative release from European jazz in the 1990s, bringing together a group of musicians who were central to the Scandinavian and wider European scene at the time.

On 25 September 2026, Divine Art is proud to present Eduard Tubin's powerful Requiem for Fallen Soldiers and other major choral works by the composer, performed by the Estonian National Male Choir, conductor Mikk Üleoja. The soloists are Iris Oja (mezzo-soprano), Indrek Vau (trumpet), Madis Metsamart and Anto Õnnis (percussion), and Piret Aidulo (organ). The album is released to tie in with the sixth annual Tubin Festival from 28 September to 4 October 2026 in Tartu and Tallinn, Estonia. Artistic Director of the Festival Mihhail Gerts has written an excellent article about these choral works for the booklet notes. Eduard Tubin (1905-1982) is recognized as one of Estonia's greatest composers. He had to flee the country during World War II and spent his later decades in Sweden, but he drew strength from his national heritage and often incorporated Estonian folk music into his works. He was a devoted choral conductor throughout his entire creative career, and men's choir music held a particularly special place in his heart. The album includes all his choral songs written during his homeland period, some from the early years of his exile to Sweden, and two major works influenced by the tragedies of World War II: 'Reekviem langenud sõduritele' (Requiem for Fallen Soldiers) and 'Taganejate sõdurite laul' (Song of the Retreating Soldiers). He composed all of his choral songs from his homeland period for the men's choir of the Tartu Men's Singing Society and remained associated with the group until his escape from Estonia in 1944. The songs include 'Karjase laul' (The Shepherd's Song), written to a folk text, as well as 'Igatsus' (Longing), 'Randaja õhtulaul' (The Wanderer's Evening Song), and 'Noore kotka laul' (Song of the Young Eagle), all set in the 1930s to texts by one of the composer's favourite poets, Ernst Enno. His rich musical landscapes often depict memories of his youth as a shepherd. Mihhail Gerts says, 'These miniatures, characterized by a wide dynamic range and a wealth of tonal colors, transport the listener to the meadows along the shores of Lake Peipus near the composer's birthplace, where the young music enthusiast spent his summer months.'

TYRANNIDE was conceived from the desire to explore the theme of cante jondo as a universal expressive archetype, not confined to the Spanish tradition but deeply rooted in human nature. It's primordial character - often expressed through the insistence of the semitone and microtonal inflections - becomes a symbol of the human condition, forced to confront suffering, death, and their inexorable musical reflection. A tyranny, indeed: that of a lament that does not belong to a single people or era, but which runs through the history of music, re-emerging in the form of appoggiaturas, suspended tensions, and melodic lines filled with longing. Cante jondo, originally connected with Andalusian flamenco, thus becomes, in the programme of this recording, a universal musical principle, capable of manifesting itself even in languages far removed from the Spanish tradition. The programme includes two works never previously recorded: Cantar de mio Cid by the French composer Jean-Dominique Krynen and the Concerto Trois Graphiques by Maurice Ohana in it's original arrangement for guitar and piano. Around these two central works unfolds a musical journey that places cante jondo in dialogue with different historical and stylistic contexts, revealing it's surprising expressive continuity.

Percussion, helped also by alternative playing techniques and amplification, enabled true exploration of the uncharted depths of sound. They revealed a world in constant transformation, where every sound is no longer conceived as a fixed and immutable entity (no longer limited to the notion of "note"), but contains within itself, in it's becoming, multiplicities. An organic yet unstable ensemble in which it is possible to find all the elements necessary for elaborating compositional processes and diverse musical solutions. The pieces presented in Indeterminate State fall within contemporary musical experimentation, as each composition arises as an investigation of the ancestral sonorities of indeterminatepitch percussion, relying on multiple opportunities offered by electronic and digital technologies. The works, commissioned by Keyhole and Loxosconcept for the MA/IN Festival, were realised during an artistic residency in the municipality of Brienza (PZ), where a heterogeneous group of six composers - Maurizio Azzan, Giulio Colangelo, Stylianos Dimou, Marta Gentilucci, Sarah Nemtsov, and Cesare Saldicco - collaborated directly with percussionist Fabio Macchia. The relationship established between composers and performer represented a key element of a shared creative process, typical of contemporary music, developing through a virtuous dynamic. The compositional path originates from the musical language and finds reflection in the instruments used, mutually influencing the stylistic expression of each author and, consequently, the form of each piece. This process, nourished by a multidirectional exchange of knowledge and intuitions, takes shape from the interaction between the composers' imagination, the performer's technical skills, and the percussion ensemble, initially proposed by the musician and later expanded in the compositional phase. The entire path is further enriched by the integration of electronic technologies, resulting in an open map of sonic experiences revealed over the time of listening.

Milestones is a cross-genre project by violinist Hugo Ticciati and the O/Modernt Chamber Orchestra, bringing together music by Josquin des Prez, Igor Stravinsky, and Miles Davis. Conceived around shared anniversary years, the album reflects O/Modernt's practice of placing music from different periods and traditions into direct conversation. Instrumental arrangements and collaborative performances draw attention to common ground between Renaissance polyphony, early modernism, and jazz, particularly in approaches to rhythm, texture, and improvisation. Recorded in Germany and the UK in 2021, the project documents an ensemble-led approach that emphasises attentive listening, flexible roles for soloists, and collective music-making across stylistic boundaries.

Composed by Michael Gordon in 2022, Field of Vision was first presented as a large-scale site-specific work for the Sunken Garden and the surrounding grounds at the Caramoor Center for Music and the Arts in Katonah, NY. Performed on specially constructed and tuned percussion instruments, industrial metals, wood, and gongs, the piece is meant to produce a complex spectrum of overtones and resonances. The large number of percussionists, and the vast performance field, is meant to highlight a sweeping perspective and the architectural movement of sound. "We want to induce a quasi-meditative, almost ecstatic state - for performer and audience alike - where attention sharpens and dissolves, and thoughts focus and drift," Gordon explains. "In the end, I think the music emerges as an exploration of space itself. Who can tune space? The answer becomes collective: the performers, the instruments, the listeners."

Clarinettist Peter Cigleris is adding another gem to the SOMM catalogue less than a year after the release of his Clarinet Concertos (with symphonic band) [SOMMCD 0705, October 2025], which featured two world-premiere recordings and was roundly praised by Gramophone's Guy Rickards: "Cigleris is possessed of a beautifully mellifluous tone. A hugely varied, enjoyable programme, then, superbly played and recorded; enjoy!" For this release, Cigleris again offers concertante works, and again two first-ever recordings, but here the tutti forces, rather than winds, are the luminous strings of the London Mozart Players led by John Andrews. The trio of composers is British, and along with Gerald Finzi, whose Clarinet Concerto is justly beloved, come two others keenly deserving of the light this recording sheds on their music. The three works, all composed in the late 40s, are bound together by the common thread of the eminent English clarinettist Frederick Thurston (1901-1953). Denis ApIvor (1916-2004), born in Ireland to Welsh parents, was a chorister at Christ Church, Oxford and then at Hereford Cathedral, where he also studied clarinet, piano and organ. As a teenaged medical student he heard the English premiere of Wozzeck under Sir Adrian Boult and his musical inspiration was renewed, leading to private composition lessons with Patrick Hadley and Alan Rawsthorne. While there is a later version of his Concertante for clarinet orchestrated for an ensemble featuring full strings, harp and celesta, Peter Cigleris opens this album with ApIvor's original chamber version for piano and two percussionists (one on timpani). This early work was conceived during the composer's wartime posting to India, and the premiere (with Frederick Thurston) was given in London after two years of peace, a repeat performance going out live on the BBC Third Programme on 27 January 1948. This recording, the work's first, shows an already impressive thread of musical argument and masterly writing from a 30-year old ApIvor, who would reach the peak of his success some eight years later with his score for the Royal Ballet's Lorca-inspired Blood Wedding. Many who know the name Freda Swain (1902-1985) will think of pedagogical piano solos and be surprised to learn of the Portsmouth native's catalogue of 450 or so serious works including large-scale operatic, orchestral and concertante music as well as varied chamber pieces, all regrettably neglected for too long. Presented here in it's premiere recording, Swain's "Lumine naturi" Concertino for Clarinet is an expressive work in language that draws on tonality yet is highly individual and sweepingly melodic. The genre-title's Italian diminutive belies concerto-worthy length (24 mins) and thematic substance. Each movement bears an epigraph by Algernon Blackwood evoking an ultra-vivid natural scene, hence the Latin epithet: "By the Light of Nature". Though Swain never published the work, it is likely that the tutti of string orchestra anchored by a lone horn accompanies a clarinet part intended for Frederick Thurston, a frequent collaborator and the dedicatee of her Rhapsody for clarinet and piano. Thurston did play the premiere of Gerald Finzi's (1901-1956) Concerto for Clarinet and Strings at the Hereford Three Choirs Festival on 9 September 1949, and the masterpiece has deservedly become the composer's most frequently heard concert work.

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 crépuscule are collective improvisations.

The Gemshorn is a medieval wind instrument belonging to the ocarina family, traditionally made from the horn of a chamois, goat, or ox. It produces sound through a fipple mouthpiece similar to that of a recorder, with finger holes along the front allowing for a diatonic scale. The Gemshorn's gentle, flute-like tone -mellow and haunting- made it particularly suited for both sacred and domestic music in the Middle Ages and Renaissance. This new recording presents the gemshorn in combination with lute and percussion instruments, in Dances, spanning from the 12th till the 17th century. A highly attractive program, ranging from melancholy musings to visceral, sometimes barbaric dances. Played by Simone Erre (gemshorn), Ugo Nastrucci (lute) and Ensemble Abelardus.

The entire project is both spare and impossibly lush. While this may sound like a contradiction, it has everything to do with the virtuosic musicianship of pianist Art Hirahara and Jim Tomlinson, as well as Stacey's elegant and unadorned vocal approach. The opening track, Lucky To Be Me, works as an invitation to the theme of the album and uses the open space between vocal phrases to draw us in. And, while all of the tracks are worth an unadulterated listen, I'm going to list a few of my favorites, starting with La Javanaise, which is delivered with an almost offhanded musical precision and sung in Stacey's pitch-perfect French. The surprising warmth of Stacey's lower vocal range makes A Time For Love the intimate ballad it was meant to be. Jim's tenor sax does the same, so that his playing is the ideal complement to Stacey's voice. The entire album is a joy to listen to both musically and sonically. It was lovingly recorded and mixed by Jim (yet another of his talents) at their home studio in Virginia. - Cliff Goldmacher Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy® nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold, and Gold-selling albums that have reached a series of chart-topping positions. Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London, where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson. Kent's musical journey began with childhood piano lessons. A keen ear and true voice led her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum-selling, Grammy®-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career. Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband, in collaboration with the Nobel Prize-winning author Kazuo Ishiguro, with whom they have worked since 2006. She has also recorded with Brazilian legends Marcos Valle, Roberto Menescal, and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène. Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as-yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love, set to appear on April 3rd, 2026.

The entire project is both spare and impossibly lush. While this may sound like a contradiction, it has everything to do with the virtuosic musicianship of pianist Art Hirahara and Jim Tomlinson, as well as Stacey's elegant and unadorned vocal approach. The opening track, Lucky To Be Me, works as an invitation to the theme of the album and uses the open space between vocal phrases to draw us in. And, while all of the tracks are worth an unadulterated listen, I'm going to list a few of my favorites, starting with La Javanaise, which is delivered with an almost offhanded musical precision and sung in Stacey's pitch-perfect French. The surprising warmth of Stacey's lower vocal range makes A Time For Love the intimate ballad it was meant to be. Jim's tenor sax does the same, so that his playing is the ideal complement to Stacey's voice. The entire album is a joy to listen to both musically and sonically. It was lovingly recorded and mixed by Jim (yet another of his talents) at their home studio in Virginia. - Cliff Goldmacher Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy® nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold, and Gold-selling albums that have reached a series of chart-topping positions. Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London, where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson. Kent's musical journey began with childhood piano lessons. A keen ear and true voice led her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum-selling, Grammy®-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career. Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband, in collaboration with the Nobel Prize-winning author Kazuo Ishiguro, with whom they have worked since 2006. She has also recorded with Brazilian legends Marcos Valle, Roberto Menescal, and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène. Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as-yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love, set to appear on April 3rd, 2026.

During the long, uneasy days of the Covid Pandemic, I listened to radio dramas of the 1940's and 50's. These tales of extortion, infidelity and murder were filled with ominous organ hits, creaking doors, stilted dialog and droll one-liners; a mix of the deadly serious with the absurd. Radio Noir recalls the strange pandemic mood of dusk encroaching and isolation. ___Joseph M. Levin

At the age of five, Accursio Antonio Cortese began studying music and the organ with his grandfather, D. Imbornone. At the V. Bellini Conservatory (now A. Scarlatti) in Palermo, he earned a Piano Diploma with O. Buogo and a Bachelor's and Master's degree in Composition with honors and special mention under M. Betta. He earned a Master's degree in Composition with I. Fedele at the Accademia Nazionale di Santa Cecilia with top honors. He specialized in film music composition with L. Bacalov and opera with G. Battistelli, both at the Accademia Chigiana in Siena. He studied conducting with C. Caruso, choral music and choral conducting with M. Ghiglione. He furthered his knowledge of jazz music by attending international seminars in Siena and at Roccella Jazz. He has a substantial catalog of symphonic, chamber, sacred, operatic, and film compositions. His music has been performed in Italy, the USA, Argentina, Finland, Russia, Switzerland, France, and Romania, in prestigious venues. His music is published by Suvini Zerboni - Sugar Music (Milan), Sconfinarte Editions (Brescia), and Isuku Verlag (Munich).

Bringing together voices from across the UK Punjabi community, award-winning composer and tabla player Kuljit Bhamra MBE unites leading British vocalists including Heera Group, Premi Johal, Abira Shah and Mohinder Kaur Bhamra with renowned lyricists such as Preet Nihal and Pappi Sing Kenya. Inspired by the timeless lok geet traditions and the golden era of 1980s British Bhangra, Kuljit blends classic folk instruments with fresh contemporary production to celebrate the enduring spirit of Punjabi culture.

LIM Cosmic Pop Rhapsody is a concept album created by the global collective LIM, led by Dr. Susan Lim and Christina Teenz Tan, and executive produced by Deepak Sharma. Recorded at Abbey Road Studios, it blends science fiction, music, and storytelling in a 17-track cosmic journey where humans and AI-enabled inanimates seek harmony across the universe. With compositions by Joi Barua, Manu Martin, Matthieu Eymard, and Ron J. Danziger, and performances by international artists including Killian Donnelly, Lucy St. Louis, and Cassie Simone, this vibrant, multi-genre soundtrack unites orchestral grandeur, pop energy, and narrative imagination in a celebration of creativity and companionship.

LIM Cosmic Pop Rhapsody is a concept album created by the global collective LIM, led by Dr. Susan Lim and Christina Teenz Tan, and executive produced by Deepak Sharma. Recorded at Abbey Road Studios, it blends science fiction, music, and storytelling in a 17-track cosmic journey where humans and AI-enabled inanimates seek harmony across the universe. With compositions by Joi Barua, Manu Martin, Matthieu Eymard, and Ron J. Danziger, and performances by international artists including Killian Donnelly, Lucy St. Louis, and Cassie Simone, this vibrant, multi-genre soundtrack unites orchestral grandeur, pop energy, and narrative imagination in a celebration of creativity and companionship.

Daníel Bjarnason is a hub-like figure in the group of composers who could be said to constitute a First Icelandic School. But he also stands slightly apart from his peers. As the nation's foremost conductor, he has premiered and recorded works by it's central protagonists including Jóhann Jóhannsson, Anna Thorvaldsdottir, María Huld Markan Sigfúsdóttir and others (notably on the Sono Luminus series Emergence, Recurrence and Occurrence). But Bjarnason's own music has long sprawled beyond the borders of the school's distinct aesthetic and incorporated non-abstract forms such as opera, dance and film scores. While some Icelandic orchestral music enacts a gradual transformation on a vaporous orchestra, akin to the shifting shape and colour of a North Atlantic cloud, Bjarnason's formative orchestral works often cleave to a solid, defined musical object which might be distorted or obscured before emerging again intact. His music has never shied away from the slow, drone-lagged music of Icelandic archetype but it has also used more varied tempi and more urgent rhythmic profiles. It has also deployed different time scales in parallel - notably in works such as Emergence and From Space I Saw the Earth, in which planes of music operating at different speeds momentarily sync. This brings to his music a sense of what the late Danish composer Per Nørgård described as 'the timeless forces of existence - nature in the broadest sense.' Those works had their roots in breakthrough concertos for cello and piano, Bow to String and Processions, both of which thrive on the process of expanding strong, fertile material by zooming deep in or stretching wide out - a more thematic, less spectral approach than that of Icelandic fashion but one that still sees Bjarnason reveling in the properties of sound itself. - Andrew Mellor

This thoughtfully conceived, beautifully executed, and boldly multi-idiomatic new album is a state-of-the-art insight into the unique soundworld of the contemporary marimba. It is also a portrait of the imaginative virtuosity of one of the instrument's finest practitioners engaging in the worlds of both contemporary classical music and jazz with equal devotion and insight. Her choices on this project display the creative boldness that has defi ned her entire career.

This album celebrates how tolerance and cultural exchange can lead to something new and beautiful, both in music and society. In every culture, the soul finds new ways to dance. Step into the circle-where sound is not judged, but joined. "Playing in a trio like this has been a dream of mine for a long time. I've always been fascinated by music from all sorts of cultures. With Jaggat, we're blending genres in a way that feels really natural - it's not just a patchwork. There are rich harmonies, beautiful melodies, cool grooves, and some odd meters thrown in. I love that it all comes together as one cohesive sound." - CASPAR VAN MEEL "Jaggat is a unique blend of various musical styles-including classical music, jazz, world music, flamenco, and Indian music-all fused into a tasteful and vibrant mélange. It was a great joy to play and record this album with these fantastic musicians." - Markus Conrad "Music is a reflection on our society and the times we live in. These compositions express how we live nowadays in Europe. All cultures are represented and are melting in a beautiful way, at least in art and music. That's what I love about this project!" - AFRA MUSSAWISADE

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.

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

For Jakob's Mirror, composer and saxophonist Robin Verheyen (b. 1983) sought inspiration far from home, retreating to the Albers Foundation in Connecticut to reflect on the life and work of painter Jakob Smits (1855-1928). Smits, who settled in the Belgian Campine and captured it's light and landscapes in a personal, timeless style, became a guide for Verheyen's own exploration of identity, memory, and belonging. Rather than translating Smits' canvases literally, Verheyen immersed himself in their atmosphere, while also listening to the music of Smits' era, including Flemish folk songs-one of which briefly surfaces in the score. Written for the Goeyvaerts String Trio and percussionist Robin Schulkowsky, the work weaves together European harmonic traditions, jazz's rhythmic vitality, and echoes of Verheyen's roots in the Campine. Jakob's Mirror is both homage and self-portrait: a meditation on landscape, light, and the enduring pull of home.

In the first half of the 20th century, we encounter a number of luminaries who in a peculiar way are reincarnations of late medieval architects - although the compositional fabric they created is completely different from solid matter. Paul Hindemith was one such guild member, as was his Austrian contemporary Johann Nepomuk David. This recording of David's symphonies works is a further step in producing a first complete recordings of his symphonic works. The Third of eight symphonies from 1940-41 as well as the Seventh, completed in 1956 are on the program. The artist's virtues are obvious. Sometimes they are like painted woodcarvings, sometimes like neat blueprints of motivic connections, using folk song elements even in the most advanced structures. These fascinating works invite the listener to sit down to this compelling music.

This recording is dedicated to two recent concertos by Kalevi Aho, one of Finland's foremost contemporary composers. The author of a body of work as important as it is varied, Aho enjoys collaborating with exceptional soloists, for whom he composes works that highlight their musical qualities, inventiveness and personality. The Concerto for Alto Flute and Strings features an instrument with a soft tone, well suited as a soloist with a small orchestra of strings alone. The work is in six movements played without interruption, and the soloist, Sharon Bezaly, sometimes switches to the bass flute, which brings a mystical feel to the music. The St Michel Strings and their conductor, Erkki Lasonpalo, contribute to the mysterious atmosphere in which lyrical and dramatic episodes abound. The Double Concerto for Viola, Percussion and Orchestra, entitled 'Moonlight Concerto', was composed at the initiative of a Berlin-based musician couple, violist Hiyoli Togawa and percussionist Alexej Gerassimez. Here we are immersed in a Japanese atmosphere that reveals echoes of the 1,000-year-old tradition of ritualistic gagaku music. In this work, the percussionist plays instruments that are not usually heard in orchestral concerts, such as the moon gong, the waterphone, a hang drum and nine Thai gongs. The Lahti Symphony Orchestra, conducted by Anja Bihlmaier, provides the rich orchestral commentary.

The new album "Asiago" by the creative soloist Julius Berger is a clever application and further development of a very pleasing, strong new trend in musical life: imaginative explorations of new repertoire fields by opening up new music to the vast areas of other cultures. In the case of the violoncello, this development seems almost provoked by it's technical and traditional repertoire boundaries. Julius Berger demonstrates how - even in a landscape such as the Alps, which seems to be closely interwoven with classical music as the homeland of well-known traditional folk music history - a closer look can reveal highly exciting and completely different ethno-potentials. He has developed a well-rounded CD program of newly written music from the precious find of the small ethnic group of the Cimbri, who came from the north and settled in what is now northern Italy, centuries ago, and still live there today with their own language. Most of this music was first performed at the annual Asiago Festival, which has been existing for 25 years now, and in various combinations - solo, in duet, with prepared piano and with cello ensemble and chamber orchestra - he has created a large, suggestive and meditative new repertoire for the low string instrument.

“...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.

ART DECADE is a wide-ranging collaboration that unites composer, producer, arranger and multi-instrumentalist Evan Ziporyn with Toronto's renowned ContaQt ensemble, led by arranger and percussionist Jerry Pergolesi. Featuring all-new interpretations of 'art rock' and ambient classics from the early '70s psych-prog output of King Crimson, David Bowie's "Berlin trilogy," and Brian Eno's Ambient 1-4 series, ART DECADE is more than just a tribute album. "Our goal is not to 'elevate' or legitimize this music," Ziporyn and Pergolesi reveal in the album's liner notes. "It's towering artistic achievement and profound influence on an entire generation is self-evident. Instead, by revisiting and inhabiting these groundbreaking works, we hope to ensure they remain a vibrant, celebrated part of the musical repertoire, retaining their punkish sense of gleeful adventure as they continue to subvert expectations and venture into uncharted territory."

Composer Per Bloland newest releaase, Shadows of the Electric Moon, highlights his reliance on fiction as an impetus for compositional inspiration as well as his integration of custom designed electronic software into his work. Featuring Unheard-of//Ensemble, Wild Rumpus, Keith Kirschoff, Bill Solomon, and Stephen Marotto, Bloland's music captures his inventive spirit and keen ear for highlighting subtletlies of instrumental characteristics and developing them within the narrative of a composition.

BAN: Stories of Censorship is Apollo Chamber Players' bold musical response to rising global threats against freedom of expression. Featuring new commissions by composers from politically embattled regions-including Afghanistan, Turkey, and the U.S.-the album amplifies voices often silenced. Narrated by cultural icon George Takei, The Book of Names recalls the Japanese-American internment through music and memory. DJ Spooky's Quantopia / The Thought Police confronts disinformation and the erosion of truth in the digital age. In Revise? composer Jasmine Barnes and Houston Poet Laureate Emeritus Deborah D.E.E.P. Mouton explore the distortion of Black identity in American culture. Arman (Hope) by Afghan composer Homayoun Sakhi is a lyrical reflection on artistic survival under Taliban rule, with the idea of hope at the forefront, while Turkish composer Erberk Eryilmaz's Fog Bell becomes a powerful metaphor for the role of artists as warning beacons-standing like a fog bell boldy cutting through the mist against authoritarianism and censorship. Together, these works form a musical call to conscience, reminding us that in dark times, art is both resistance and refuge.