“I tend to write emotionally. That is to say, when I reach in to the abstract space of musical possibilities, the tiny bit I can capture, I tend to let these transient melodies/rhythms and subsequent harmonies, increasingly familiar somehow, guide me through the most natural dynamic and flow of energy from event to event. These fragile moments, subtle and monumental, occupy long form song structures in Sifting Stars. This music and lyrics is concerned with fantasy and redemption, and I exploited every opportunity to coax the most lush and expressive motion. While this collection of music is perhaps stylistically furthest away from my jazz informed roots than in previous work, with this classical instrumentation and atmosphere, brimming with romantic gestures, and it’s mostly through-composed nature, I feel that much of the harmonic and rhythmic palettes still reflects my relationship with jazz and new music through a certain rhythmic aesthetic, emotional intent, and vibe.

Una formación que ha sido base de muchos proyectos de jazz y otros estilos como el flamenco o la música cubana. Su estreno discográfico fue en marzo de 2007 en el Festival Jazz Terrassa. Desde entonces el grupo ha tenido un recorrido imparable en 2007 y 2008 que le ha llevado a estar presente en ciudades como Madrid, Barcelona, Burgos, Huesca, Londres, Paris, Frankfurt, Montevideo o Buenos Aires.

Even in the adventurous territory of jazz, this French-Vietnamese musician stands out as a unique explorer of sounds. His new CD will surprise even those who believe themselves to be, by now, familiar with the diversity of his musical output. The first unusual fact: Most of the tracks were recorded in Lê’s living room (pardon me, his salon), and also completed à la maison using his computer. The second unusual fact: This domestic method of producing music need not conjure up the cosy, well worn realm of familial comfort, in fact Nguyên Lê leads the listener into a space that is full to the brim with warped sounds and acoustical metamorphoses.

Terre Thaemlitz developed the present pieces for and with zeitkratzer. The starting points were Thaemlitz’ releases „means from an end“ and „couture cosmetique“, which present him as an electro acoustic composer with an amazing sensibility for sound and harsh cutting techniques. This is especially evident in „sloppy 42nds“, and moreover, Thamlitz’ filtering techniques are transformed into a complex, nearly surrealistic instrumental sound in „Superbonus“. Thaemlitz’ provenance as a New York underground DJ is recalled, as well as his political engagement in „Down Home Kami-Sakunobe“ and „Hobo Train“. On this CD you will find the most Pop oriented music - including references to dance and house - zeitkratzer has ever released! But don’t forget to listen to the main track, hidden as “superbonus”…

Tunisia-born singer and oudist Dhafer Youssef should be recording for ECM. His albums have a similar spiritual, centered quality to the work appearing on that label, and his work on this album with some of Norway's top jazz players points completely in that direction. He lives very much on the cutting edge, taking things even further than he did on 2001's Electric Sufi. Where that album used electronica as the periphery of the music, here he brings it to the heart of the sound, integrating it seamlessly into his compositions, as on "Aya," where a seemingly found sound becomes the heartbeat of the track. His collaborators, including trumpeter Nils Petter Molvær, offer him plenty of space, and that's what the music needs – it's as wide open as the Tunisian desert.

ROCKETT LOVE now returns with the brand new CD on AOR Heaven called “Greetings from Rocketland” on August 30th, 2019. The band's second album contains 11 new tracks including the highlights “King for one day”, “Back on my feet” and the power ballad “Take me home”.

Bringing to a close a series which has frankly altered the way we listen to and perceive sound and music over the course of this decade, Jakob Ullmann seals his important Fremde Zeit series with ‘Solo V for Klavier’; a fascinatingly stark and spectral hour-long finale that sets the idea of ‘Foreign Time’ in its most minimalist and broadest setting.

As of 2011, Gordon Lightfoot had performed at Toronto's Massey Hall 150 times, the most shows any artist had played in the concert hall's 117-year history, so it's only fitting that the venerable Canadian folk icon should release a live album that celebrates both the venue's long tenure and his own. Culled from performances recorded between 1998 and 2001, All Live features 19 pristine, untouched (as in directly from the mixing board) cuts that span the legend's entire career, including timeless hits like "If You Could Read My Mind," "Sundown," "Canadian Railroad Trilogy," and "The Wreck of the Edmund Fitzgerald," as well as tracks from later albums like East of Midnight ("Let It Ride"), Waiting for You ("Restless"), and A Painter Passing Through.