His debut album for ACT, Irish Heart, saw his breakthrough as a guitarist and singer. Torsten Goods' multi-faceted, expressive voice is as much at home in blues as in swing and pop and in 1980 this is evident. "99" is a beautiful cover version close to Toto singer Steve Lukather's original recording, whereas "Don't Let It Get To You" reminds us of Al Jarreau and "So Are You" brings out the crooner in him. "I Need You So Bad" is an impressive duet with ACT colleague Rigmor Gustafsson. As they got on so well together during Goods’ appearances at her concerts in Sweden, Rigmor's guest performance was a "must"…

Norwegian trumpeter Mathias Eick makes his ECM debut as a leader with this set, which features keyboardist Jon Balke and a guest appearance from Stian Carstensen - usually an accordionist, but here playing that jazz-band rarity, the pedal-steel guitar. Eick (who also plays vibes and guitar) has played with everybody from the pioneering Trygve Seim collective to Chick Corea, psychedelic group Motorpsycho and contemporary jazz-rock band Jaga Jazzist. His silky, unbrasslike sound is ideally suited to this undulating groove-landscape, and pianist Balke's apposite fills and asides help give the music a collective fluency. But there's more angularity in the rough offbeats and low keyboard grunts under Eick's airy lines on the funky Stavanger, the stately Cologne Blues is like a slowed-down Carla Bley piece (with Carstensen's steel guitar shimmering beneath it, and a probing Balke solo), and there's a folk song lilt to the mid-tempo Williamsburg. A lot of it is slow tone-poetry, but Eick's rather mournful, puffs-of-air sound is pretty captivating.

With the exception of Questions (composed about 10 years ago), these compositions were written for Patricia and Tomeka. As I composed, I had the sound and personalities of these two friends in my mind, and imagined a myriad of sonic possibilities for the unique instrumentation of vibraphone, cello and drums. As I wrote, I put soundtracks to the images in my head, the stories of my life, both real and imagined.

For the first time in his rich and multifaceted career Bjørnstad give us an album with a classic piano-bass-drums trio constellation. It has Palle Danielsson generating his usual warm, earthy bass, and Marilyn Mazur on some varied and sympathetic percussion. Here we encounter melody and Bjørnstad in a new constellation and both thrive. Even though this is the first meeting between the three, there are large doses of empathy present and that they have a lot to talk about.

It all began during a snowy Christmas in 1999: saxophonist Jonas Knutsson met up for the first time with guitarist Johan Norberg to do some spontaneous recording sessions at Norberg’s flat, and got carried away during several hours of playing. They reached such a level of mutual understanding that the recordings were passed between friends of the two Swedish musicians for the next few years. Then Knutsson and Norberg listened again to the recordings - and decided to go to a proper studio. The result is a CD which both moves between and merges jazz and Swedish folk elements: "Norrland". The nature of the deep understanding between two musicians: thus "Norrland" can be described. Knutsson and Norberg cultivate the fine shadings, and a sensitive dialogue. They create floating, but in some ways plausible, sounds: tender, but never harmless musical images of the landscape…

A fresh and open music, delicate and space-conscious, is shaped as drummer Thomas Strønen and Ayumi Tanaka, previously heard in the ensemble Time Is A Blind Guide on Lucus, resurface in a new trio with clarinettist/singer/percussionist Marthe Lea. The group first came together at Oslo’s Royal Academy of Music, where for two years the players would meet each week for exploratory music making. Strønen: “We always played freely- drifting between elements of contemporary classical music, folk music, jazz, whatever we were inspired by. Sometimes the music was very quiet and minimalistic: playing together generated some special experiences.” The spontaneous spirit of the music is reflected in the trio’s debut recording, which was made at the Lugano radio studio and produced by Manfred Eicher. With the exception of the title piece, based on a traditional Norwegian tune, the music on Bayou was collectively created in the moment.

The second ECM album from this Polish-Swedish-British edition of the Tomasz Stanko Quartet follows the critically-heralded Matka Joanna. As Jazz Journal wrote, 'Trumpeter Stanko's vibrant breadth of tone and poetic feeling for cross-rhythmic drama are second to none.' Leosia marks a further progression, incorporating six first-rate Stanko compositions in his brooding 'Slavic' style, darker than the darkest Miles (and incorporating a tribute to Lautréamont, literature's Count of Darkness), as well as bracing and exploratory duo and trio improvisations, and solos of the higherst calibre by all concerned. The group has an unusual claim on idiomatic completeness; it seems to summarize, in highly original manner, many of the important developments of jazz of the last 30 years…

Recorded live at the Paris Olympia, Live in Paris offers listeners Diana Krall's understanding of the musical techniques of composition, piano, and vocal improvisation on 12 songs from the Great American Songbooks of Cole Porter,Harold Arlen, George and Ira Gershwin, and contemporary artists Joni Mitchell and Billy Joel. Accompanied by the award-winning Anthony Wilson on guitar, John Pisano on acoustic guitar, John Clayton on bass, Jeff Hamilton on drums, and Paulinho Da Costa on percussion as well as the Orchestra Symphonies European on "Let's Fall in Love" and "I've Got You Under My Skin," the lovely vocalist heightens your listening pleasures with distinctive phrasings and tangible pathways to inside the creative imagination by getting inside harmony, the changes, and melodic structures…

In the '70s, pianist Richard Beirach pioneered a distinctive type of ethereal jazz, characterized by lush, polytonal harmonies and frequent outbursts of angular, high-velocity lines that broke up the austere moods of his compositions. This beautiful trio outing with bassist George Mraz and drummer Jack DeJohnette is classic Beirach, and as apt an example of the "ECM sound" as one will find. The piano reverberates in concert hall fashion, even as the bass and drums interact with a looseness, and often an explosiveness, that is anything but cold and removed. There are only five tracks on Elm, but because each presents a different aspect of Beirach's music, the album is satisfying and quite whole. The opener, "Sea Priestess," presents deceptively simple harmonies over a lilting even-eighth groove…

Featuring recordings from both Pat Metheny's solo albums and Pat Metheny Group releases, Works is an excellent introduction to the artist who helped make ECM Records a successful "boutique" record label. This collection includes seven excellent recordings originally released in the late '70s and early '80s. Works features Metheny's partner, keyboardist extraordinaire Lyle Mays, on four tracks. Metheny and Mays are truly musical soul mates - rarely do two musicians complement each other as well as they do. "It's for You," penned by the duo, is one of the most moving instrumental compositions ever recorded – Metheny wastes no notes during the soaring guitar solo on this beautiful recording. In fact, every track on Works is stunning.

Mixing up his pitches just to keep his fans off balance as always, Metheny returns to the strict jazz-guitar trio format for the first time in a decade, in league with a couple of combative, unintimidated partners. At the age of 45, Metheny leaves no doubt that he has become a masterful jazz player, thoroughly at home with even the most convoluted bebop licks ("What Do You Want?") yet still as open as ever to ideas outside the narrow mainstream, as illustrated in the country-western-tinged phrasing on "The Sun in Montreal." Bassist Larry Grenadier propels his own voice prominently into the texture, even when walking the fours, and drummer Bill Stewart does not hesitate to go against the grain of Metheny's ideas…

On this basic piano trio CD, Eric Reed is quite assertive on many different levels. His piano playing is maturing, growing stronger and deeper, stripping himself of clichés and past influences. He's chosen to take established songs and standards and modify them to his liking. A fine rhythm section of bassist Reginald Veal and drummer Gregory Hutchinson moves the music forward, and, as you might expect, the songs are based on his New York, New York experience. You'd be hard pressed, upon hearing his take of the old Harpers Bizarre Merseybeat Top 40 hit "59th St. Bridge Song (Feelin' Groovy)" to recognize it from the original. Reed has re-harmonized it beautifully into a modern jazz vehicle for his own melodic trappings…

Live in New York 1.24.04 is the second recording, and first live recording, by Nicholas Payton's electric jazz band Sonic Trance. It was recorded live at the 2004 International Association for Jazz Education (IAJE) conference in New York City. The recording originally circulated as a bootleg, but became so popular that Payton authorized a limited release by Kufala Recordings, a label that specializes in authorized live recordings.

This is already the third album of the working band BLAER, founded in 2012 by the composer and pianist Maja Nydegger. YELLOW is the result of a longstanding and diligent collaboration. The band concept sets on a balanced group sound and a calm, focussed flow of music.

Harry Lime, the charming but dastardly anti-hero in the classic 1949 film noir The Third Man, famously dissed Switzerland saying "they had brotherly love, they had 500 years of democracy and peace - and what did that produce? The cuckoo clock." The renegade Swiss quintet Le Rex isn’t making up for lost time, but there’s an urgency and creative ferocity to their music that would make Lime reconsider his unfair denigration. Featuring four expert horn players and drums, the band is a rising force on the European music scene, with an irresistibly grooving sound honed on the street and designed for maximum impact in clubs and concert halls.
Le Rex’s fourth album 'Escape of the Fire Ants' is the band’s most confident and cohesive, marked by consistently compelling compositions, careening melodies and thick, lapidary harmonies…