When pianist Carsten Dahl went into the studio with his perennial fellow musicians, the bassist Niels Bo Davidsen and the drummer Stefan Pasborg, it was with a special dogma: Not to say a word throughout the recording. The album was created in a continuous sequence of first takes and everything was improvised without previous agreements or ideas except 'Falling Down' and 'How I Hear Beauty' based on some chords Dahl scratched down on a piece of paper in the studio. There is a natural, fluent and electric feeling in the music. The trio creates a series of intense pieces most of them no longer than 3-4 minutes, but together they constitute a suite-like process with stimulating variation in form and expression. 'To me Mirrors Within is the picture of the collective and the universal', Dahl says. 'In the music we mirror ourselves in one another. But the mirror can also break and behind it is black'. Hereby he insinuate the both bright and dark sides of his own artist life. He has spoken in public about trauma, therapy and medicine. Music, painting and poetry are his creative responses. Mirrors Within points in the direction of the inner landscapes of music, those places in the mind where music can become 'sound that bleeds, infect and flourish', as written in the Brøndums Encyklopædi. Dahl, Davidsen & Pasborg have developed a special musical dialect together. We are way beyond instrumental skills, which are top class, but it is about much more than that. The best way perhaps to summarize the activities is with the word: empathy. Not as a feeling, but as an ability to participate in a mutual human action which otherwise could not be realized.

The celebrated New Orleans Jazz Orchestra examines and the profound relationship of its hometown to the nation of France with its release of Petite Fleur on Storyville Records. The second album under the artistic directorship of drummer Adonis Rose features ten songs, nine of them standards associated with French and New Orleans musicians. The tenth tune is an original by Cyrille Aimée, the acclaimed jazz vocalist born and raised in France but now living and working in The Big Easy itself.

Aimée is the NOJO’s collaborator and vocalist on the album. It was the singer who initiated the collaboration, telling Rose that she would like to work with the 18-piece big band and asking if he had any ideas for a project. “I said, ‘Well, okay, musically, how can I tell a story here?’” Rose recalls. “I thought about the long, shared history of those two places, and that became the concept. A narrative about the musical relationship between New Orleans and France.” The title tune, a standard by early jazz clarinet legend Sidney Bechet, epitomizes the concept: A composition by a New Orleans artist living in France, performed by a New Orleans band with a French vocalist. Composers from both sides of the Atlantic, from Michel Legrand to Jelly Roll Morton, get similar treatment. So do various New Orleanian styles, from a stomp (“Get the Bucket”) to a second line (“Down”) to Fats Domino-style rock ’n’ roll (“I Don’t Hurt Anymore”). In addition to being its spotlight vocalist, Aimée is also Petite Fleur’s featured soloist, applying her razor-sharp scat singing to “In the Land of Beginning Again,” “On a Clear Day,” and “Undecided.”

REVIEW:

Petite Fleur is essentially a meditation on the ties that bind Crescent City art to French culture. Teaming up for 10 songs that cross styles and oceans while exploring that particular connection, the New Orleans Jazz Orchestra and French vocalist Cyrille Aimée make a perfect match, united in the act of storytelling.

The album speaks to Artistic Director and drummer Adonis Rose’s sure-handed helming of the NOJO, the entire band roster’s contributions in part(s) and sum, Aimée’s well-documented gifts, and a shared vision that brings them all together.

-- JazzTimes (Dan Bilawsky)

Jacob Artved is the youngest of a very talented new generation of Danish jazz guitar players. At the age of 20 he has already been a working musician for years, being introduced on the scene by Danish guitar legend Jacob Fischer at the age of 15. He was admitted to the Royal Academy of Music as the youngest student ever, but chose to drop out, move to New York and spent the long nights jamming instead. The present release is a live recording from Jazzhus Montmartre/ Copenhagen, taken from July5-7, 2019. It is always a joy when a young musician decides to focus on passing on a strong jazz-tradition. Guitarist Jacob Artved lives in the tradition, but has definitely obtained inspirations from guitar players of today. His playing is skilled and honest, and he has a fine career ahead of him. These three days Artved is heard with no other than a legend; the American drummer Louis Hayes, whose strong playing was the driving force in groups led by Cannonball Adderley, Horace Silver and Woody Shaw. What a scoop! The group is completed by two incredible musicians from NYC; pianist Jeb Patton and bassist David Wong.

The history of the JAZZPAR AWARDS constitutes, in retrospect, a significant development in the recognition of jazz by international arbiters of taste, and by distributors of monetary recognition. Between 1990 and 2004, the award was made to several American performers but also, reflecting the history of the music itself, to six Europeans (Tony Coe, Django Bates, Martial Solal, Marilyn Mazur, Enrico Rava and Aldo Romano). It's worth remembering too that, as well as celebrating jazz per se, the fundamental idea was to draw attention to the world-class ability of Denmark's own musicians. Each annual winner was required to perform in a situation of their own choosing, but one which would involve several local players, as seen in the present series of reissues. In addition, it shouldn't be forgotten that each year a smaller prize was given to a Danish musician who was given the opportunity to invite a foreign player of their choice, often but not always an American, to appear and record with them. The international winners tended to be distinguished figures who, up to that point, had not received the amount of wider recognition that they deserved, and who found the award to be an honor that also increased their reputation. Such was the case with the initial recipients of the award, namely Muhal Richard Abrams (1990), David Murray (1991) and Lee Konitz (1992). This 1992 set showcases the work of the Danish pianist/composer Jørgen Emborg with a quintet including his specially invited guest, the American bass-guitarist Steve Swallow.

This recording marks the third time Ronnie Cuber has visited Jazzhus Montmarte in Copenhagen, the first time being in 2015 where he played a beautiful concert with Nikolaj Bentzon. Cuber, born December 25, 1941 in Brooklyn, New York, has been composing, arranging and leading his own groups since 1959. He is acknowledged to be one of the greats among baritone saxophonists, with a sound that is an exciting amalgam of straight-ahead jazz, hard bop, soul, R& B, and Latin. In his teens he was chosen to perform in Marshall Brown's Newport Youth Band at the 1959 Newport Jazz Festival. By ' 62 Cuber had recorded with Slide Hampton. He worked and recorded with Maynard Ferguson's band from 1963-1965. After stints with the orchestras of both Lionel Hampton and Woody Herman, Cuber augmented his New York session work by performing and recording with the great Latin bands of Eddie Palmieri, Charlie Palmieri, Mario Bauza. At the same time, Mr. Cuber was playing alongside and recording with R&B legend King Curtis and backing Aretha Franklin. Cuber is a musicians musician, as well as one of the most gifted players ever. His gift is in his ability to function with somebody like Steve Gadd and then go record with Horace Silver, at the same time do a tour with Eric Clapton. There is not one of his records that contains any half-hearted playing or musical skating. When he plays, it's serious creative business and he tells a story.

This release showcases the work of Konitz in a variety of settings all derived from the JAZZPAR All Star Nonet directed by saxophonist Jens Sondergaard. It begins with three tracks recorded by Radio Denmark during the actual final concert of the series in Copenhagen's Falkoner Scenen. Sadly, although this reissue has been in preparation for some months, it has now turned into a memorial for Konitz, who died at the age of 92 from complications of the virus Covid-19 on April 15, 2020.

Lee Konitz was one of the most highly valued individualists of the entire field of jazz. His recordings from as early as 1947, the year he turned 20, show that the basis of his unique style was already formed, partly under the influence of fellow Chicagoan Lennie Tristano. This fact was remarkable enough, in an era when all the other saxophonists who weren't actively clinging to the approach of Johnny Hodges, Willie Smith or Benny Carter were trying desperately to catch up with Charlie Parker. But Konitz was developing an almost pianistic process, in which his lines were not dictated by what was easy for his instrument and, in addition, were not given a deliberately emotive profile by the articulation and tonal variety of the saxophone.

The story behind this recording began in the summer of 2018 when Enrico Pieranunzi played with Ulysses Owens, Jr. for the first time: two awesome concerts during the Copenhagen Jazz Festival that cast a breathtaking spell over the audience. Enrico Pieranunzi was encouraged to study music from a young age. His father was a jazz guitarist. He studied classical music until 1973 when he became a Professor of Music, and maintained that post for two years. In 1975 he left his teaching practice and played in trios and small ensembles. He has recorded over 60 albums. He has also been prolific as a session musician. Heralded as a powerhouse of a showman (Glide Magazine), a legitimate jazz triple threat (Critical Jazz) and a drummer who take[s] a back seat to no one (The New York Times), performer, producer and educator Ulysses Owens Jr. goes the limit in the jazz world and beyond. The Trio is rounded out by bassist Thomas Fonnesbaek, who has performed with and recorded alongside some of the finest musicians in the industry.

Lars Jansson is a jazz pianist, composer, arranger and educator. He was born in 1951, and grew up in Örebro, Sweden, where he was bored by his lessons at the community music school. In his early teens, a relative lent him records with Miles Davis, Ben Webster, and Mose Allison, creating a solid foundation for his musical education. Jansson's career has been in full flourish since 1970, and he has for the main part been focusing on the trio format. Lars Jansson Trio has long been one of the most renowned jazz groups in his native Sweden and the rest of Scandinavia as well. In 1998, he was nominated for the Danish Jazzpar Prize and he became the first jazz professor in Aarhus, Denmark. He was honored in Denmark with a Grammy in 2001 for "Best International Album," with the album Hope. Lars Jansson Trio are now ready to release their new album Just This. Assisted by Thomas Fonnesbæk on bass and Paul Svanberg on drums, Jansson has created a body of work that deals with various themes of life, and pays tribute to some of Jansson's heroes. Fonnesbæk is a well-respected bassist in his own right, playing with the likes of Justin Kauflin and Alex Riel, and Svanberg, who is Jansson's son, is a widely used drummer on the Danish jazz scene. The album, 13 tracks in total, comes by as a beautiful and diverse collection of tunes that display the collective talents of three very gifted and experienced musicians.

Since his breakthrough in 2012, leading Nordic jazz vocalist/saxophonist Mads Mathias has received numerous awards and toured clubs and festivals across Europe and Asia, performing at concert halls such as the Royal Albert Hall and Royal Festival Hall in London and the Forbidden City Concert Hall in Beijing. He has also frequently fronted the Danish Radio Big Band. On this, his sophomore album, Mads has gathered together some of the best in the business, from Grammy-nominated DR arranger Peter Jensen and the UK's leading jazz arranger Guy Barker (London Jazz Festival’s ‘Jazz Voice’) to the leader of the renowned Danish String Quartet – Rune Tonsgård, Brazilian Pandero master Bernardo Aguiar and one of the world’s best harmonica players, Mathias Heise. Alongside these new collaborators are long-time associates ‘the Quentin Tarantino of Danish jazz’ and playmate since childhood Peter Rosendal (keys), Morten Ankarfeldt and Esben Laub & UK rising-star James Maddren on drums, plus an incredible horn section. ‘It’s been really exciting to work with these amazing musicians and be able to use different instrumentation to best deliver each song’ Mads comments. In so doing, the album provides great variety, yet with a forward-looking, original and consistent ‘sound’ throughout.

Before jets and a proliferation of festivals made European appearances by American jazz musicians commonplace, it was not unusual for a trans-Atlantic tour to be preceded by six months of publicity. But such was not the case in November 1950, when Charlie Parker's arrival in Sweden literally took some fans by surprise. The trip was made on such short notice that booking negotiations virtually continued until his day of departure from the States. Rumors of impending visits from Parker had circulated from time to time, but so exciting was the prospect that one dared not believe them. Given the scarecity of live jazz in Europe at that time, and the fact that Charlie Parker, the Messiah of modern jazz, was already achieving legendary status, it was preordained that this visit would be a particularly memorable one. We hope this live album proves to be as exciting to listeners now as it was to the approximately one thousand people who crowded into the dance hall of Folkets Park in Halsingborg and the seventy-five who were lucky enough to attend the session that followed all those years ago.

The American pianist Hank Jones could, spanning his 65-year career, always be counted on for a joyful presence on the jazz scene, playing sparkling piano solos that uplifted every group that was wise enough to hire him. This set of previously unreleased music from June 6, 1983 puts the spotlight of one of the most consistent geniuses in jazz history. This 1983 concert consists of nine jazz standards performed at Jazzhus Slukefter in Tivoli Gardens, Copenhagen. Jones takes the lion's share of the solo spots, changing his style between that of a classical bebop pianist and other times swinging elegantly like Teddy Wilson. The masterful trio comes up with creative variations and give all the songs on the release rewardingly fresh treatments.

From a leading exponent of the fertile Danish free jazz movement of the 1960s comes these never before released live and studio recordings pointing back to traditional jazz, swing and bop and forwards to future forms of jazz mixed with folk, funk, soul and rock. The first half of the record features studio recordings from von Eyben's “Workshop”, en ensemble that created a free-flowing and spontaneous feel. The musicians were trained classical musicians and composers, and this foundation of skill ensures an uncompromised high quality of play and a basis from which they can improvise masterfully. The second half of CD is a recording of the Danish Broadcasting Corporation’s “Radiojazzgruppen” playing compositions by Finn von Eyben. Von Eyben himself is featured on bass and accompanied by Niels-Henning Ørsted Pedersen. The record is an interesting addition to our understanding of the 1960’s in Danish music history where then past, the present and the future clashed and created a whole new sound. “It meant a lot to us,” reflects Finn von Eyben, “this underlying idea: What happens if?”

Fessor (a.k.a. Ole Lindgreen) is alive and well. He has become the quintessence of the love of jazz – real jazz. He’s the hero of the young ones in Denmark and has strong ties to three generations’ experience of live music with beat and feeling. Since WWII, almost 40 albums have been released in his name on Storyville and Olufsen Records. He has played from Kap Horn (a jazz joint in Copenhagen) to New Orleans, to most of Europe, West Africa and Brazil - with bands like Fessor’s Big City Band, Nulle and Verdensorkestret, and Papa Bue Revival. The music on this album was recorded around the dining table in Fessor’s living room with Morten Ærø in charge, an adroit soundman (and drummer). A totally relaxed atmosphere with feeling and warmth emanating from every tune. Morten Ærø also handles the drums on the album, where the rest of the line-up consists of Peter Maroti on trumpet and flugelhorn, Chris Tanner on clarinet, Jakob Dinesen on tenor saxophone, Marko Martinovic on piano, Jens Sølund on bass. Glad to Be Here consists of a variety of Fessors own compositions and songs that has had a meaningful impact on his life and career.

This album was recorded live at John's Hall at the Kirsten Kjærs Museum in March 2021. The album is a tribute to late Jan Johansson, who could have turned 90 in 2021 had he not died in a tragic car accident in 1968. Throughout the album the group presents Johansson’s compositions and soundscapes in various forms and celebrations. ENSEMBLE EDGE (est. 2016) is the first Aarhus-based contemporary vocal ensemble entirely dedicated to the performance, exploration and development of new music for choir and strings. By way of cross-genre collaborations, ranging from jazz musicians to electronic/multimedia/visual artists, ENSEMBLE EDGE is committed to projects that convey meaningful and eye-opening art and music that everyone can share, regardless of age, nationality, cultural or social background.

This new release is the first in a series of three presenting Jazzpar winners, a prestigious Danish jazz award. Tommy Flanagan grew up in Detroit, initially influenced by such pianists as Art Tatum, Teddy Wilson, and Nat King Cole, and then by the newer bebop musicians. Within months of moving to New York in 1956, he had recorded with Miles Davis and on Sonny Rollins' landmark Saxophone Colossus. Recordings under various leaders, including the historically important Giant Steps of John Coltrane, and The Incredible Jazz Guitar of Wes Montgomery, continued well into 1962, when he became vocalist Ella Fitzgerald's full-time accompanist. He worked with Fitzgerald for three years until 1965, and then in 1968 returned to be her pianist and musical director, this time for a decade. Tommy Flanagan won the Jazzpar award in 1993.