Pianist David Helbock and bassist/cellist Julia Hofer have things in common: a playful curiosity combined with the urge to try out new things and to have fun. Both of these Austrians are also perfectionists…and natural communicators…and that’s why their musical combination works so well. “I was looking for a new duo partner,” says David Helbock, “because although I am completely passionate about my ‘Austrian Syndicate’ project, it’s a really tricky thing to put together, a large band…lots of keyboards. Together with ACT CEO and producer Andreas Brandis, the idea of an acoustic duo reduced to its emotional essence was finally born – a format in which musical communication works more directly than in any other line-up. And I quickly came…
Category: jazz
London-based vocalist Tereza Catarov’s remarkable debut album Koren was born from video calls with her grandmother, a folk singer who preserves hundreds of traditional songs in her memory. When her grandmother shared a notebook of lyrics left by her own mother and sang some pieces, including personal compositions, Catarov was moved to record these voices and stories. Inspired, she travelled to Romania to capture her grandmother’s voice for the album, ensuring this living treasure’s presence in the project.
Koren masterfully intertwines Romanian and Bulgarian heritage with contemporary jazz, honouring women’s intergenerational struggles through intricate arrangements which envelope Catarov’s intensely powerful vocals, often…
Alloy the band started as a vehicle for Dave Douglas in cahoots with the now passed Roy Campbell Jnr and Baikida Carroll. Douglas was the then greenhorn alongside those masters of free. In this incarnation the roles are reversed, with Douglas the senior to David Adewumi and new kid on the block, Alexandra Ridout. This is austere, disciplined music, perhaps reflecting Douglas’ current mood, where so many of his values, musical and social, must feel under threat.
The first two cuts set the tone: ‘Standing Watch’ is a tight, almost second line blues, resonant of Gary Burton and Carla Bley’s Genuine Tong Funeral, the state of readiness resonating with Rembrandt’s painting The Night Watch. Brennan does the Burton fluid thing while the steadfast…
On The Hat with the Grin and the Chuckle, his sixth recording as leader of the Tango Project, multi-instrumentalist Ben Thomas once again invites his audience to put on their dancing shoes and sway to Argentina’s unique and emblematic musical genre. In doing so, he affirms that there is far more than one way to tango, eliciting all the warmth and color he possibly can within eight of his luminous and rhythmic compositions.
Besides writing and arranging every number, Thomas plays bandoneon, vibraphone and percussion while leading a sextet whose uncommon makeup includes clarinet, bass, piano and two violins — not what one might envision on a jazz album but well-suited to a session whose raison d’etre is the tango.
Kimatika, the 3rd album by the Slovenian audio-visual trio Etceteral, consisting of Boštjan Simon, baritone sax and electronics; Marek Fakuč, drums; and Lina Rica, visuals, is a visceral plunge into the raw undercurrents of futuristic jazz, motoric propulsion, free improv and elastic compositions.
…As often happens with instrumental music, especially jazz-based, the lead is taken by the sax which fills any void left by the absence of vocals. While jazz of a futuristic and improvisatory bent is part of their charm, it is modernised by the presence of motorik rhythms and blasts of techno, all making for an energising concoction. More than on their previous two albums, Kimatika has an emphasis on composition so that while the playing still has a wonderfully freeform feel,..
Solo recordings, at least when they feature instruments other than piano or guitar, can be a challenge even for the most committed jazz listeners. The excitement generated by the dialogue of multiple instrumentalists is, of course, missing, and even the most talented artists can have trouble sustaining one’s interest for an entire album. Such releases can be rather rewarding, however, when the musician in question has either astonishing technique or compelling emotional substance — or both, as is evident on multi-instrumentalist Ned Rothenberg‘s Looms and Legends, his first solo recording since 2012’s World of Odd Harmonics. The album can certainly be appreciated for its technical brilliance — no surprise to anyone who has followed Rothenberg’s long…
Early in his recording career, pianist Vijay Iyer formed his most compelling group, Fieldwork. The initial album release, Your Life Flashes (2002) broke new ground and put down the roots from which everything Iyer has created in 20-plus years has grown and flourished.
Iyer’s recording career began in 1995 with Memorophilia. The ensuing 30 years have seen more than a score of albums from the pianist in a leadership role as well as dozens in a sideman stints. His three previous Fieldwork outings include the previously mentioned Your Life Flashes, as well as Simultaneous Progress (2005) and Door (2007), all on the Pi Recordings label.
Then Fieldwork went fallow, until the disc at hand, 2025’s Thereupon, emerged.
“What did you do today?” asks a man with a gentle, encouraging manner. “I did something,” says a small child.” Laughing, the man replies, “And what ‘something’ did you do?” The child answers, “I made my house.” This conversation comes from a home cassette recording made in 1983, when Eliot Krimsky was five years old. The man on the tape is his father, who passed away unexpectedly in 2022. Krimsky’s purpose on I Made My House is to connect this moment with the present day, to understand his father’s role in his life, and to come to terms with his passing.
To do this, Krimsky had to delve into his past. This process materializes on I Made My House in creative production choices that led him back to where he was raised. Krimsky replayed his…
Serious-minded Norwegian trumpeter Nils Petter Molvær has long stood at the vanguard of eclectic, experimental music, defying preconceptions through immersive, genre-bending soundscapes with a heavy emphasis on groove and ambiance. His new album with his revitalized band Khmer is a modernist reinvention of older works — most drawn from the group’s landmark debut Khmer (ECM, 1997) — performed live in Bergen.
“Song of Sand” floods the speakers with a hip-hop beat and sampling. A trance-like bass groove supports Molvær’s relaxed trumpet lines, modulated with synth effects, before guitarist Eivind Aarset steps forward, weaving moody textures, exploratory lines, and noise-rock ambiances. “Platonic Years” opens with…
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…the legendary singer-songwriter’s Archives series continues with its first themed compilation, appropriately entitled Joni’s Jazz. These 61 selections draw from nearly every core album in the Mitchell discography with just a couple of exceptions (Clouds, Ladies of the Canyon) and reflect the breadth of the artist’s immersion into the jazz idiom in all its many varied forms.
Last year, in her liner notes to Archives Volume 4 (1976-1980), Mitchell teased, “People ask me my favorite of my albums, it’s going to be Joni’s Jazz.” It’s not difficult to see why; many of her greatest songs and performances can be found among these 61 tracks. What’s clear, too, is that Mitchell is keen to disrupt conventional notions of…
Nueva Timba is the sophomore Blue Note release by pianist and composer Harold López-Nussa. The first, 2023’s Timba a la Americana, marked not only his label debut, but his first recording since leaving Cuba for France in 2021. López-Nussa has been at the forefront of recontextualizing and innovating Latin jazz in the 21st century without once sacrificing tradition.
He uses most of the same band from the earlier album: harmonicist Gregoire Maret, bassist Luques Curtis, and drummer/percussionist brother Ruy Adrian López-Nussa. Their focus offers an irresistible meld of Cuban timba, post-bop, and Spanish classical music. It was recorded live in performance at studio Le Duc des Lombards in Paris. The tapes were then extensively…
Chip Wickham has been a mainstay on London’s music scene since the late 1990s when he served as a producer and engineer to many influential EDM creators, but jazz has always been his passion. A world citizen, he lives between the U.K., Spain, and Qatar. Earlier in 2025 he was a co-billed, featured soloist with Neil Innes’ Lewis Express on the album Doo-Ha! and returns with The Eternal Now, his fifth long-player (he also issued the wonderful Love & Life EP in 2024) and his third release for Matthew Halsall’s Gondwana label. It’s lovingly titled after Don Cherry’s 1974 classic. Halsall, whose ties to Wickham date back to 2007, acts as co-producer alongside the leader. Most of the Love & Life band re-appears here: double bassist Simon “Sneaky” Houghton, drummer…
A dry mouth, sore muscles and a pounding headache led Liv Andrea Hauge to write the music on this short but deep-reaching record. The Norwegian pianist was tucked up in bed, sweating and shivering with high fever. Through the murky fug of ill health, she identified a series of rhythmic and melodic shapes that now form the third release by her thoughtful, efficient trio.
…The record explores the feeling of being “døgnvill” – a Norwegian term describing the sensation of being out of sync with time and reality, like during jet lag or insomnia. The music inhabits this liminal space between structure and freedom, consciousness and dream.
Half of the compositions were written while pianist and composer Liv Andrea Hauge was…
The idea of an artist emerging fully formed from the jump is nothing new, but North African jazz artist Ami Taf Ra is something else. With no EP and no mixtape, she landed a deal with Brainfeeder to put out her debut record, The Prophet and the Madman. The past five years have resulted in this vast, celestial journey with Ami Taf Ra guiding us through opulent compositions, serving as a vessel for the wisdom which she imparts like divine guidance. It is, in the realest sense, epic, but on The Prophet and the Madman, divinity takes precedence over humanity.
Modern jazz legend Kamasi Washington shares songwriting credits with Ami Taf Ra, appearing across the record multiple times in the form of sax solos and serves as a major collaborative…
According to Nick Finzer, the trombonist never set out to make a big band album but over time realized that the pieces he’d developed lent themselves to the jazz orchestra format.
Inspired like so many jazz artists by the large-scale projects of Duke Ellington and Gil Evans, Finzer followed their lead for his first full-length big band album and conceived his compositions and arrangements with specific players in mind. As a result, The Jazz Orchestra Volume 1 engages as both a robust big band expression but also one featuring interplay at a small group level involving Finzer and a coterie of colleagues.
The talent pool is impressive, to say the least: among the eighteen-member orchestra Finzer assembled (himself included) are…

