Grancia integrates traditional orchestral instruments including violin, viola, cello, harp, and woodwinds with a jazz/rock rhythm section and ethnic percussion.The music has been described as: elegant, sensual, cinematic, visual, richly arranged, multilayered and complex but very accessible. It incorporates formal structures but has lots of room for improvising and solos. The Grancia band includes 13 players from different musical disciplines - an unconventional, top shelf ensemble. Grancia was recorded with the whole band live in the studio, with no click track, no samples, and with overdubs kept to a minimum.

Indonesian guitar legend, Dewa Budjana is offering his most ambitious album to date, "Zentuary". A veteran player whose career has already been marked by collaborations with a virtual "who's who" of musical luminaries, Budjana still manages to raise the stakes and elevate the level of his game on his fifth solo album. Supported by an all-star cast of enormous proportions - including jazz legend, Jack DeJohnette (over forty years on the ECM label), the iconic progressive bass and stickman, Tony Levin (Peter Gabriel; King Crimson), and the extraordinary superstar sideman talents of Britain's Gary Husband (Allan Holdsworth; John McLaughlin) - Budjana offers a profusion of cross-cultural delicacies which tease, cajole, enthrall and, ultimately, satisfy listeners.

As house pianist at London’s legendary Ronny Scott’s jazz club, Taylor accompanied many of the icons of jazz, and in so doing honed his individual style into what became one of the most important voices on the European jazz scene. The gigs and recordings of his own groups, his long-time association with trumpeter Kenny Wheeler, his many ECM trio recordings with Peter Erskine and Palle Danielsonn and groups lead by the likes of Jan Garbarek and John Surman established Taylor’s importance.

First heard on Xavi and Dusan’s inspired 2014 album, “Random Abstract” by XaDu, “Deep Ocean” starts things off with a fanfare of muscular guitar and cymbals crashing like waves on the rocky coast, carving out the beach and unearthing a primal groove with growling bass and jittering spectral figures. “The Sound of the Earth I” brings to mind David Sylvian’s post-Japan near ambient instrumental excursions where space and pause became as integral to the “composition as place” as his trusty Prophet 5.