This repertoire emerges from a reflection on the value of limitations in art as a tool of renouncement and transgression. On the concrete use of limitations in composing as a device of emancipation — tracing the frame from which to extract ourselves —. Here, written music is apprehended like a block of raw matter which each member is called upon to peel, bend or weld onto another.

Paul Dunmall's dynamic Birmingham quintet's release Yes Tomorrow was a Discus highlight of 2022. We enjoyed the release so much that we took the unusual step of suggesting he add Julie and Charlotte to the group to make a second release. Paul embraced the idea with enthusiasm, and came up with this suite for the expanded group. The result is a freewheeling set with a great "live gig" feel, which gives plenty of space for each player to shine, and which mixes some tight compositions with open ended improvisation sections.

Each one of my Unseen Rain recordings have featured a side of my improvising personality, from the standards of Film Noir to the wild free jazz of Blood River Shaman. For this latest trio recording I decided to focus on my own compositions. I’ve been writing tunes as well as classical pieces since I was in my late teens. Most of my tunes are either sketches for free improvs or ECM style acoustic jazz.

Balázs Rodek tells us “Playing live is always special. I like the whole process, for me it is like preparing for an Olympic event.

Balans, Harald Lassen's fourth album, is a fascinating self-portrait of an improviser who finds freedom in a good song, a songwriter who invites listeners and fellow musicians to explore what he has created, and an artist who understands that the only valid taste is the personal.

Still as libertarian and inhabited, Sébastien Palis (piano, composition), Raphaël Quenehen (saxophones), Quentin Ghomari (trumpets), Thibault Cellier (double bass) and Jérémie Piazza (drums) embark on a new adventure: meet Jim Harrison, American novelist and poet (1937 – 2016) who thought writing and trout fishing went so well together. A Very Big Lunch is an allegorical tribute to the Giant "Cyclops" or rather what he gave birth to : stories, characters and landscapes. A Feast… A hell of a Feast !

“Mare Undarum means “the sea of waves”, the name given to a lunar pool. The title is also a reference to the artist's first name, Sélène, who was the goddess of the full moon in Greek mythology.

"Being the Up And Down", Silke Eberhard’s new CD with her trio with Jan Roder on bass and Kay Lübke on drums was recorded both in the studio as well as at a live concert at the A-Trane in Berlin. This was the result of her winning the prestigious Berlin Jazz Prize, which affords the winner the honor of playing a concert and getting some recording days by Radio Berlin Brandenburg.

Formed from the younger generation of Finnish musicians, the Katu Kaiku trio is truly at home on the fringes of genres, combining modern jazz with handpicked elements of progressive rock and pop. Dreamy, haunting melodies, sophisticated dynamic nuances and elaborate drum parts create a meditative but not introspective soundscape. This is thought-provoking music by confident and experimenting musicians, offering true remedy for the strained mind.

This concert is a part of "Bill Laswell The Stone Residency" took place at The Stone NYC. June 23 (Tue) to 28 (Sun), 2015.

Berlin Baritone is a uniquely intimate release, even in Rosenwinkel’s prolific discography, as listeners get to hear Rosenwinkel discover the timbral world of his new instrument with reverence and curiosity. In this stripped-down and intimate recording, you can hear just how deep and intuitive Rosenwinkel’s playing is.

Matthew Halsall has already blessed us with one beautifully conceived EP this year, now with Changing Earth he has shared another perfectly crafted four track mini-album or EP. Where the music on The Temple Within came from the energy around the band’s monthly sessions at Yes in Manchester, Changing Earth is a more meditative, spiritual offering.

In Jazz music, each artist should be profoundly personal and vitally collective at the same time. For this reason, a saxophone, bass, and drum trio is a machine as demanding as it is fascinating. The absence of the piano “glue” makes the musicians look for solutions to this odd game. On one extreme we have a pure section on rhythm releasing all melodic work to the saxophone, on the other hand we can find bass and drums being able “singing” against their natural role. Between the two there are myriads of possibilities.

Properly transcendent deep-dream jazz fantasy from prolific trumpet virtuoso Arve Henriksen (Supersilent) and Norwegian pianist Kjetil Husebø, together shaping an album that’s much, much more than the not so inconsiderable sum of its parts. Like a fever-dream comedown, it takes us from insanely rich sounding 4th world topographies to fizzing, electric ambience and fluttering prepared piano, perfectly soundtracking the humid un-reality we’re living through. If you’re into Jon Hassell, Miles Davis, Don Cherry/Codona, David Sylvian - read on.

"Djupet" began as a commissioned work co-composed by Jo Berger Myhre and Erlend Viken for the Ultima Festival and Riksscenen in 2020. Together, with dancers Ida Wigdel, Ådne Kolbjørnhus and Katja Schia, they explored the common ecstatic potential of, and the links between, folk, improvisational and electronic dance music. Thomas Pohlitz Strønen was producer, and when they recorded the music the week after the premiere, the duo became a trio.