Der Titel dieses Albums lässt ein Feuerwerk karibischer
Rhythmen erwarten, vielleicht à la Gonzalo
Rubalcaba. Fast schon düster hingegen wirken
die ersten Töne zu ”L’étudiant noir”. Die sich
dahinter verbergende Spannung erinnert an ”Légitime
Défense” – so der Name einer Zeitschrift
aus den Dreissigerjahren, welche die Négritude
zum Thema hatte –, ein Begriff, der hier als Titel
des dritten Tracks auf der CD vorkommt. Im weiteren
Verlauf der Setlist werden die düsteren
Klänge dann allerdings zunehmend aufgelöst,
z. B. im bedeutenden ”We Belong to Those Who
Say No to Darkness”. Ortiz ist ein begnadeter
Techniker, der mit den Avantgarden des Jazz und
der zeitgenössischen bzw. Neuen Musik ebenso
vertraut ist wie mit den karibischen Traditionen
aus der eigenen Biographie. Die Titel seiner
”Creole Renaissance” sind eine Art ideologischer
Überbau, mit dem er sich ebenso auseinandersetzt
wie mit der Jazztradition, etwa in Form einer
Anspielung auf ”Sophisticated Lady” oder
kubanischen Traditionen, mit Anleihen bei Chan
Chan, das der Buena Vista Social Club in die
ganze Welt getragen hat. Eben, die ganze Welt ist
hier einbezogen in dieser eklektischen und gleichzeitig
kompakten, bewusst inszenierten Musik
von Aruán Ortiz. Wie der Titel des Songs ”From
the Distance of My Freedom” verrät, geht es um
eine Reflexion auf zwei Ebenen, der musikalischen
und der existenziellen.

"Two absorbing solo piano albums that in different ways reject the artistic imperative of a signature style. That is, they can't immediately be recognised from their opening notes. The work of Norwegian pianist Christian Wallumrød falls imprecisely between contemporary composition, jazz and improv. His Ensemble has recorded on ECM, and he's released the solo albums Pianokammer (2014) and Speaksome (2021). To describe Wallumrød as an unflashy player is an understatement.

The pieces on Percolation are rather less minimal, and less electronic, than on Speaksome. But the album opens with the halting, spare ""Marrowing"" and the nervous, fugitive ""Noble Fir"". Both pieces reflect Wallumrød's intense, narrow-focus interiority. Nordic church music's lilting plangency pervades ""Ny Gitar"", ""Deer Naylla"" and ""The Sing"". There are occasional electronic sounds, most notably on ""You Didn't"", which features echoey autoharp against an almost infrasonic doom-laden beat. On ""Higher Than Your Gluteus"" a looping, spongy acid house beat is gradually submerged by dark, minimal boogie-woogie.

Aruán Ortiz's album is less ingratiating, more uncompromising - though it generally projects a more conventional piano style. Créole Renaissance celebrates the racial self-consciousness of négritude, a concept developed by the Paris based journal L'Étudiant Noir (1935). The exploratory opening track, with the same title, seems to be constantly trying to evolve a groove, but failing. Generally, in fact, rather than grooves as such, the album features their residues. Figures gesture at montuno riffs before dissolving.

Ortiz always begins de novo, rejecting a signature style. But he's a personal artist nonetheless, his stylistic continuity developing a groundbreaking synthesis of Western modernism and Afro-Cuban roots music. ""Seven Aprils In Paris (And A Sophisticated Lady)"" is funereal and macabre while the lugubrious ""The Great Camouflage"" moves at a glacial pace - there's nothing uptempo here. Ortiz exploits occasional extended techniques, notably on ""We Belong To Those Who Say No To Darkness"" where strings are dampened to nasal thuds and metallic strums. The result is a sombre meditation by a modern master.

"Dieser Sommer ist gut gefüllt mit Piano Solo. Neben Sophie Agnel, Stephen Grew, Matt Mitchell und Amina Claudine Myers, um nur einige zu nennen, sticht vor allem der britischen Pianist Alexander Hawkins mit Herz-****. ..Song Unconditional"" ist seine dritte Soloaufnahme und spiegelt sowohl die Verfeinerung seiner Technik, als auch die Weiterentwicklung seiner Signatur. Hawkins fasziniert durch Reduktion auf das Wesentliche. Überwältigung interessiert ihn nicht, seine Musik ist Freiheit pur. Dennoch fesseln seine kompakten Kompositionen mittels einer Fülle von Emotionen. Hawkins nutzte alle Mittel seiner Kunst, um mit Polyfonie, Kakofonie, mit alter Stim mung und neuen Klangfarben das gute alte Piano zum Leuchten zu bringen. Wer das weite Spektrum seiner Interessen, von polyphon singenden Pygmäenstämmen Zentralafrikas, Gamelan aus Bali, über Klassik bis hin zur zeitgenössischen Musik kennt, ahnt womit seine Synapsen aufgeladen sind. Kein Wunder also, wenn er uns zunächst radikal Neues zwischen die Ohren knallt, um uns im nächsten Augenblick in rosa Zuckerwatte zu betten. Lieblingslied „Song Of Work Still To Do"" - too good to be true.

Se pensate che Lewis stia incidendo troppo vi diamo ragione, ma come dare torto a chi ritiene ogni suo disco pressoché irrinunciabile? Il processo di affinamento espressivo del suo quartetto sta proseguendo di gran carriera e questa nuova opera non fa che ribadire la positività di un linguaggio che sa coniugare estetica contemporanea, afflato spirituale e sguardi introspettivi. “Abstraction Is Deliverance” lo si potrebbe persino definire più comunicativo di altri confratelli e il foglio di presentazione, nell’annunciarlo come una raccolta di ballad, non è molto lontano dal vero. L’assunto è chiaro già dalla sentimentale “Ware”, dedicata allo scomparso sassofonista David S. Ware, che dispiega con ampie volute una linea melodica hardboppistica contornata da scenografie cosmiche, resa ulteriormente morbida dal circospetto incedere del pianoforte di Aruán Ortiz, pacato mattatore della parte centrale. L’approccio emotivo coinvolgente sostiene anche “Per 7”, aperta in solitaria dal sax tenore su tempi assai rilassati, mantenuti costanti sino alla fine. Un orientamento ripreso in “Even The Sparrow”, con appena qualche increspatura aggiunta, e ancora presente nell’avvio contrabbassistico operato da Brad Jones per “Remember Rosalind”, che nell’evolvere rivela asimmetrie e giravolte congegnate a dovere. Decisamente più nervosa la traccia che intitola l’incisione, grazie anche all’intenso lavoro ritmico regalato dal batterista Chad Taylor, sulle trame del quale Lewis libera a ondate la propria fantasia. Al contrario, “Mr. Crick” propone un’immersione nelle acque placide ed emotivamente rassicuranti del blues, perfetta introduzione al denso lirismo di “Left Alone”, tema di Mal Waldron che i quattro trasfigurano poco alla volta, dando prova di aver raggiunto, al quinto disco, capacità interattive di alto livello.

THE voices of his birth city, Santiago de Cuba, are deep in the heartsong of David Virelles, and they ring from his piano all through his album Carta, alongside New York confreres, bassist Ben Street and drummer Eric McPherson.

All the compositions are his and they radiate a Caribbean soulfulness. Confidencial is slow and ruminative with McPherson’s percussive comradeship close and instinctive, while NY Chepinson reflects those great pianists who made New York their home. Monk and Bud Powell’s life struggles are reborn from Virelles’s every note.

The album’s title tune begins with what sounds like rattling shells, before Virelles’s keys and Street’s delving bass create faraway sounds of intensity and love.

Virelles’s pianism is an amalgam of islands and cities, Cuba and the Apple in a stylistic fusion created by a rare imaginative artistry of sound. Carta is a letter of union, beyond division and hostility.

https://morningstaronline.co.uk/article/album-reviews-september-17-2024

Saxophonist Tony Malaby has been a hard-hitting presence on the NYC scene for more than a quarter of a century. Although an MVP whose unique sound elevates any bandstand he graces, as shown with the likes of Charlie Haden's Liberation Music Orchestra, Paul Motian's Electric Bebop Band and the Fred Hersch Quintet, he's also an established leader. But while a fearsome improviser whose own albums often swerve to left field, he remains a wholly committed interpreter of other people's concepts, as he shows on the three dates here.

On As Things Do, Malaby finds himself among a crew of peers. It's the second outing from bassist Michael Formanek's all-star Elusion Quartet, completed by drummer Ches Smith and another of the reedman's regular collaborators, pianist Kris Davis. Formanek's formidable scope as a composer ensures he utilizes all the considerable talents at his disposal, mixing intricate parts in often multifaceted charts that offer diverse improvisatory spaces, which are exploited to the full. Malaby certainly enjoys himself on the audacious opener "Bury the Lede", as his tenor soars above a juddering churn that progressively resolves anthemic. Far more than just a fire breather, the saxophonist demonstrates his breadth, all grizzled elegance navigating the shifting meters of "Rewind", then invoking flute-like tones on soprano to accompany Davis' gamelan-inflected piano preparations and Smith's chiming vibes early on in "Cracked Bells", while his playing is lyrically aching on the valedictory "Gone Home". Each track represents a journey into its own world in which nothing can be anticipated other than that excellence awaits.

Malaby guests on Another State of Rhythm, the third release under the banner Old Mountain by the Portuguese pairing of pianist Pedro Branco and drummer João Sousa, who add twin bassists João Hasselberg and Hernâni Faustino to the cast for nine selections. The saxophonist proves well-suited to the outfit's canny blend of "out" there with more inside heartfelt pieces. He shines on the sole cover, a rendition of the offbeat C&W stroll through Leadbelly's blues classic, "Goodnight, Irene": first Branco and then Malaby gradually go off the rails, culminating in a final madcap duet. Thereafter, the saxophonist ranges from tender and delicately keening on the wistful "The Sixth Commandment", to abrasive and raw on the seething "Giraldo". He doesn't appear at all on the hymn-like "Ballad For Paul", a lovely tribute to his erstwhile employer Motian, although his breathy embroidery of the subsequent "Blend in By Standing Out" seems to capture the same spirit.

Malaby joins Madrid-born, NYC-based Álvaro Torres to realize six of the pianist's originals on Live in Barcelona. He's part of Torres' dream team, which also includes Japanese expat bassist Masa Kamaguchi and Danish drummer Kresten Osgood. Torres' compositions pull in influences from post-bop to Spanish folklore, but always remain direct and accessible, with a swinging core. Partly that's down to the leader's strong sense of time, and partly down to the engine room where Osgood brings an irrepressible drive allied to sensitive imagination, all
spiced by just a hint of mischief, alongside the nimble-fingered Kamaguchi. Malaby thrives in the cracks, offering impassioned flourishes to the Monk-tinged "Siresimi", and swaggering through the changes of the involved "You Dig?". The compositional fabric of the standout "The Good Life" barely contains his nerve-shredding squeals and expressive skronk.

Top Ten Recordings 2023

BUILT IN SYSTEM - CHIEN CHIEN LU - GIANT STEPS ARTS

NEW RELEASES - JEROME WILSON

JAIMIE BRANCH, FLY OR DIE FLY OR DIE FLY OR DIE ((WORLD WAR), (INTERNATIONAL ANTHEM)

JAMES BRANDON LEWIS RED LILY QUINTET, FOR MAHALIA, WITH LOVE, (TAO FORMS)

LEAP DAY TRIO, LIVE AT THE CAFE BOHEMIA, (GIANT STEP ARTS)

TYSHAWN SOREY TRIO, CONTINUING, (PI)

INGRID LAUBROCK, THE LAST QUIET PLACE (PYROCLASTIC)

DANIEL HERSOG JAZZ ORCHESTRA, OPEN SPACES - FOLK SONGS REIMAGINED (CELLAR MUSIC)

DAN ROSENBOOM, POLARITY (ORENDA)

ROXANA AMED/ FRANK CARLBERG, THE WORKS AND THE NIGHTS (SONY MUSIC LATIN)

KRIS DAVIS' DIATOM RIBBONS, LIVE AT THE VILLAGE VANGUARD (PYROCLASTIC)

ERICA SEGUINE / SHON BAKER ORCHESTRA, THE NEW DAY BENDS LIGHT (SELF-RELEASED)

The New Day Bends Light

NEW RELEASES - KEN WEISS

ANNA WEBBER - SHIMMER WINCE - INTAKT

HENRY THREADGILL ENSEMBLE – THE OTHER ONE - PI

JIM & THE SCHRIMPS - AIN'T NO SAINT - INTAKT

SATOKO FUJII PIANO SOLO – TORRENT - LIBRA

INGRID LAUBROCK - THE LAST QUIET PLACE - PYROCLASTIC

MICHAEL FORMANEK ELUSION QUARTET - AS THINGS DO -INTAKT

KRIS DAVIS DIATUM RIBBONS - LIVE AT THE VILLAGE VANGUARD - PYROCLASTIC

TYSHAWN SOREY TRIO - CONTINUING - PI

LEAP DAY TRIO - LIVE AT THE CAFÉ BOHEMIA - GIANT STEP ARTS

SUSAN ALCORN SEPTETO OF THE SOUTH - SINGING - RELATIVE PITCH

HAROLD DANKO – TRILLIUM - STEEPLECHASE

Top Ten Recordings 2023

BUILT IN SYSTEM - CHIEN CHIEN LU - GIANT STEPS ARTS

NEW RELEASES - JEROME WILSON

JAIMIE BRANCH, FLY OR DIE FLY OR DIE FLY OR DIE ((WORLD WAR), (INTERNATIONAL ANTHEM)

JAMES BRANDON LEWIS RED LILY QUINTET, FOR MAHALIA, WITH LOVE, (TAO FORMS)

LEAP DAY TRIO, LIVE AT THE CAFE BOHEMIA, (GIANT STEP ARTS)

TYSHAWN SOREY TRIO, CONTINUING, (PI)

INGRID LAUBROCK, THE LAST QUIET PLACE (PYROCLASTIC)

DANIEL HERSOG JAZZ ORCHESTRA, OPEN SPACES - FOLK SONGS REIMAGINED (CELLAR MUSIC)

DAN ROSENBOOM, POLARITY (ORENDA)

ROXANA AMED/ FRANK CARLBERG, THE WORKS AND THE NIGHTS (SONY MUSIC LATIN)

KRIS DAVIS' DIATOM RIBBONS, LIVE AT THE VILLAGE VANGUARD (PYROCLASTIC)

ERICA SEGUINE / SHON BAKER ORCHESTRA, THE NEW DAY BENDS LIGHT (SELF-RELEASED)

The New Day Bends Light

NEW RELEASES - KEN WEISS

ANNA WEBBER - SHIMMER WINCE - INTAKT

HENRY THREADGILL ENSEMBLE – THE OTHER ONE - PI

JIM & THE SCHRIMPS - AIN'T NO SAINT - INTAKT

SATOKO FUJII PIANO SOLO – TORRENT - LIBRA

INGRID LAUBROCK - THE LAST QUIET PLACE - PYROCLASTIC

MICHAEL FORMANEK ELUSION QUARTET - AS THINGS DO -INTAKT

KRIS DAVIS DIATUM RIBBONS - LIVE AT THE VILLAGE VANGUARD - PYROCLASTIC

TYSHAWN SOREY TRIO - CONTINUING - PI

LEAP DAY TRIO - LIVE AT THE CAFÉ BOHEMIA - GIANT STEP ARTS

SUSAN ALCORN SEPTETO OF THE SOUTH - SINGING - RELATIVE PITCH

HAROLD DANKO – TRILLIUM - STEEPLECHASE

MY FACE TO FACE MEETiNGS WiTH JAZZ ARiSTS iN 2023

CHRiSTOPH IRNiGER PiLGRiM - Seven Down Eight Up (2o23)
CHRiSTiAN WALLUMRØD ENSEMBLE - Arpsam (2o16)
DiVERGENT CONNECTiONS ORCHESTRA - Transcend {single edit} (2o23)
ROLF-ERiK NYSTRØM, NiLS ØKLAND, a.o. - Maqam: The Oriental Dawn of the Baroque (2019)
SLAVíK / NOBLE / CLARViS - Paul's Noble Waltz (2o23)
JiŘí SLAVíK & VUS ONDRÁŠ - Dej bůh štěstí (2o22)
OGUZ BÜYÜKBERBER & TOBiAS KLEiN - Crown Shyness (2o21)
LEiRBLAA - Vintersol (2o22)
COSMiC SWiNG ORCHESTRA - Limehouse (2o2o)
E CONVERSO - Uspávanka (2o22)
GONCALO ALMEiDA, JOHN DiKEMAN, GEORGE HADOW - Pentagon (2o14)
SPiNiFEX - Dikri (2o18)
MCH TRiO - Á, tak mladej pán se uráčil (2o23)
PAUL CLARViS & LiAM NOBLE - Maple Leaf Rag (2oo8)
ROMANOVSKÁ TiCHÝ HRUBÝ & GARTH KNOX - Padesát houstiček pro Mistra (2o22)
DAVE HOLLAND, ZAKiR HUSSAiN, CHRiS POTTER - Good Hope (2o19)
MATTHiAS MÜLLER / MATTHiAS BAUER / RUDi FiSHERLEHNER - Ausstand (2o21)
JOHN LENNON - God-Ultimate Mix (Apple 2o21)

Listen also to www.radioponava.cz

Chart history

Top position held by this upload

9th
avant-garde
9th
free jazz
Tracklist
Playing tracks by CHRiSTOPH IRNiGER PiLGRiM, CHRiSTiAN WALLUMRØD ENSEMBLE, DiVERGENT CONNECTiONS ORCHESTRA, ROLF-ERiK NYSTRØM, NiLS ØKLAND, a.o., SLAVíK / NOBLE / CLARViS and more.

https://www.mixcloud.com/milo%C5%A1-latislav/my-face-to-face-meetings-with-jazz-aerists-in-2o23/

Dvakrát moderní jazz Christopha Irnigera z Curychu

Curyšský tenorsaxofonista a skladatel Christoph Irniger (ročník 1979) má na kontě už pět autorských alb se svou kapelou Pilgrim, z toho čtyři na labelu Intakt, kde vydal též tři alba v triu. V kvartetu No Reduce hrál m.j. s americkým bubeníkem Nasheetem Waitsem, dále třeba s Davem Douglasem, Danem Weissem, Nilsem Wogramem nebo progrockovou kapelou Cowboys From ****. Pilgrim se od druhého alba ustálil jako kvintet, v němž s kapelníkem a výhradním skladatelem hrají pianista Stefan Aeby, kytarista Dave Gisler, kontrabasista Raffaele Bossard a bubeník Michael Stulz.

CHRiSTOPH IRNiGER PiLGRiM: Ghost Cat

Album GHOST CAT (Intakt, 2o23) obsahuje ve 48 minutách šest skladeb výsostně současného jazzu, které od počátku vtahují do děje rafinovanými rytmy a stupňovaným napětím. Úvodní Marvel se odvíjí od rychlého swingu činelů a jednoduchého akordu klavíru, do nichž vstupuje Irnigerův tenorsaxofon s jímavou, jemnou a pomalou melodií, rozvíjenou figurami kontrabasu a zatím ještě čistých vyhrávek kytary. Rozjíždí se i piano, aby vše bez zádrhelů dojelo do závěrečné šesté minuty.

Druhá věc s názvem Seven Down Eight Up už je mnohem rafinovanější. Hned v úvodu nastíní piano a poté i saxofon klokotavé téma, s nímž si celý kvintet dále pohrává. Ve chvíli, kdy si melodii předávají hendrixovsky skřípavá Gislerova kytara a Aebyho piano, lze skoro mluvit o progresivním rocku, kterýžto dojem potvrzují komplikovaná metra a činelové eskapády Michiho Stulze, na nichž spočívá následná nápaditá improvizace ostatních členů kvinteta. Vše je přitom zcela přirozené a navýsost lahodné. V titulní Ghost Cat je tenorsaxofon tak jemný, že zpočátku skoro evokuje flétnu. Celá věc se odvíjí v pomalém tempu s dialogem kytary a kontrabasu, pianovým triem a návratem k pastorálnímu tématu.

Podobně jemně začíná i čtyřka s názvem Calling The Spirits, než se její melodie rozpadne do velmi vláčných rozhovorů všech nástrojů v různých kombinacích s volným rytmem krásně znějících činelů. V polovině dvanáctiminutové skladby se vše přiostří a dojde i na rockově bublavé kytarové sólo, aniž by se ztratila všudypřítomná melodičnost. Pak ale přijde takřka free kadence klavíru, která vyústí opět do tichého lyrického melodizování a dovede skladbu ke konci.

Předposlední Four States of Mind je celkově klidná až pastorální věc s jednoduchým témátkem a adekvátními chorusy klavíru a kytary. Zbývá závěrečná Walking with Dinosaurs, startující groovem rytmiky v takřka rockovém pomalém tempu, nad nímž se rozvíjejí rozhovory saxofonu, piana a mclaughlinovské kytary ve variacích propracovaného tématu. Na CD (nikoli v downloadu) pak po cca minutové pauze čeká ještě kratičký bonus.

Celá deska nezapře vliv progresivního rocku, s nímž mají někteří členové kvinteta též zkušenost, a poslouchá se od začátku do konce velmi příjemně, byť jí třeba nemusíte věnovat plnou pozornost. V opačném případě vás ale odmění intenzivním prožitkem z výsostně moderního, téměř akustického evropského jazzu.

https://jazzport.cz/2024/01/11/dvakrat-moderni-jazz-christopha-irnigera-z-curychu/

Nel recensire «Nuna», album quasi del tutto solitario, avevamo largamente elogiato la capacità di Virelles di ottenere un’efficace sintesi espressiva tra molti elementi, nei quali si ritrovavano il suo altissimo magistero pianistico, profili fortemente identitari, un approccio colto, talora ai limiti dell’intellettualismo, ma anche un afflato tradizionale, quasi di «scuole nazionali», sempre pronto a riemergere. Tutti aspetti che, insieme alla formazione, alle frequentazioni e alla brillante carriera già maturata, fanno del pianista cubano un sicuro protagonista. In questo nuovo album, che è in qualche modo un triplo debutto (primo disco in trio, con una formazione nuova di zecca e per una diversa etichetta) tutti gli aspetti sopra citati vengono mantenuti e rafforzati, garantendo la perfetta riuscita di un’opera davvero maiuscola. Il formato e due partner di asso[1]luto livello danno modo a Virelles di mettere in piena evidenza le proprie qualità compositive (otto dei nove brani sono da lui scritti) e pianistiche (davvero enormi, in pieno accordo al milieu da cui proviene), sfruttando una specie di effetto-leva nella valorizzazione degli aspetti ritmico-melodici. La forza comunicativa della musica è spiccata e diretta, a tratti spettacolare, ma sempre caratterizzata dal grande equilibrio che la felicissima integrazione dei tre sa garantire. Questa brillantezza e le matrici più «popolari» (africane e caraibiche) non deprivano minimamente la complessa stratificazione della musica, che rimane sofisticata e raffinata. Ogni difficoltà viene affrontata e risolta con irrisoria facilità da tre musicisti di levatura altissima. Tra i brani spiccano, in particolare, per opinabile scelta personale, NYChepinsón, Tiempos, Confidencial (unico non originale, composto da Enrique Bonne), mentre quello che intitola il disco riporta verso atmosfere di oscura astrazione che fanno parte della cifra di Virelles, ma che in questo disco non prendono mai il sopravvento. Completa un quadro così splendente l’eccellente qualità della registrazione, operata nel leggendario studio di Rudy Van Gelder a Englewood Cliffs. Assolutamente da ascoltare.

https://www.musicajazz.it/recensione-david-virelles-carta/

BEST OF 2023

HONORABLE MENTIONS-NEW RELEASES

Alexander Hawkins Trio - Carnival Celestial (Intakt)

Angelika Niescier - Beyond Dragons (Intakt)

Anna Webber - Shimmer Wince (Intakt)

Michael Formanek Elusion Quartet - As Things Do (Intakt)

Sylvie Courvoisier - Chimaera (Intakt)

Trance Map+ - Etching The Ether (Intakt)

NEW RELEASES

1 Jaimie Branch Fly or Die Fly or Die Fly or Die ((world war)) International Anthem

2 Fire! Orchestra Echoes Rune Grammofon

3 David Virelles Carta Intakt

4 Lorenzo Di Finti Lullabies From An Unknown Time Lose

5 Lakecia Benjamin Phoenix Whirlwind Recordings

6 Canadian Jazz Collective Septology: The Black Forest Sessions HGBS Blue

7 Eddie Gripper Home Ubuntu

8 The Necks Travel Northern Spy

9 Christian McBride's New Jawn Prime Mack Avenue

10 Satoko Fujii Hyaku: One Hundred Dreams Libra

BEST OF 2023

HONORABLE MENTIONS-NEW RELEASES

Alexander Hawkins Trio - Carnival Celestial (Intakt)

Angelika Niescier - Beyond Dragons (Intakt)

Anna Webber - Shimmer Wince (Intakt)

Michael Formanek Elusion Quartet - As Things Do (Intakt)

Sylvie Courvoisier - Chimaera (Intakt)

Trance Map+ - Etching The Ether (Intakt)

NEW RELEASES

1 Steve Lehman & Orchestre National de Jazz Ex Machina Pi Recordings

2 BlankFor.ms/Jason Moran/Marcus Gilmore Refract Red Hook Records

3 Robert Mitchell/Neil Charles/Mark Sanders Towards The Flame Vol.1 577 Records

4 Matthew Shipp The Intrinsic Nature of Shipp Mahakala

5 Nite Bjutie Nite Bjutie Whirlwind Recordings

6 James Brandon Lewis Red Lily Quintet "For Mahalia. With Love" Tao Forms

7 Joshua Redman where are we Blue Note

8 Ambrose Akinmusire Beauty Is Enough Origami Harvest

9 Alexander Hawkins Trio Carnival Celestial Intakt

10 Mark Turner Live At The Village Vanguard Giant Step Art

REISSUES & ARCHIVE

1 Sam Rivers The Quest Red Records

2 Stan Tracey Quartet Jazz Suite Inspired By Dylan Thomas' Under Milk Wood Resteamed

3 Woody Shaw Blackstone Legacy Contemporary/Jazz Dispensary Top Shelf Series

4 Pharoah Sanders Pharoah Luakabop

5 John Carter & Bobby Bradford Self-Determination Music Flying Dutchman/BGP

6 Dorothy Ashby. With Strings Attached 1957-65 New Land

7 Grupo Um Starting Point Far Out

8 Nimbus Sextet Live In Lotusland Nimbus

9 Norman Connors Dance Of Magic Buddah

10 Yusef Lateef Detroit Arc Records