Europe Jazz Media Chart

November 2023


Mike Flynn, Jazzwise

Corto.Alto: BAD WITH NAMES (New Soil)


Krzysztof Komorek, Donos kulturalny

Sneaky Jesus: FOR CHACHING TAPHED (Shapes of Rhythm)

Amazing and delightful is the lightness and freedom with which Sneaky Jesus moves between conventions and styles. The diversity of the musical narrative, the fluidity of the transition from delicacy to frenzy, from melodiousness to heavy and noisy rhythms, is captivating. Sneaky Jesus goes all the way. And they know how to do it. Outstanding, breathtakingly fresh music.


Jan Granlie, salt-peanuts.eu

Vilhelm Bromander: IN THIS FOREVER UNFOLDING MOMENT (Thanatosis Production)

This forever unfolding moment documents Swedish double bass player-composer Vilhelm Bromander’s new 13-piece ensemble featuring some of Stockholm’s best improvisers. The album is a three-movement, spiritual-mysterious suite, “full of hope, care and resistance”, and suggests updated perspectives to ideas developed back in the 1960s and 1970s by some of Bromander’s seminal heroes: Ornette Coleman, John and Alice Coltrane, Don Cherry and Charlie Haden’s Liberation Music Orchestra. The record is full of beautiful and soulful, nourishing music. I heard the band live at the Stockholm Jazz Festival, only a few weeks ago, and it is even better live!


Dick Hovenga, Written in Music


Corto.Alto: BAD WITH NAMES (New Soil)

After two excellent EPs released on the cool Worm Discs, there is finally the real debut album from Scotland’s corto.alto. Released on the equally cool New Soil, BAD WITH NAMES is a tantalizing, delightfully bouncing between genres, and as infectious as it is impressive debut. BAD WITH NAMES dives into tracks flowing from jazz to hip-hop, breakbeat, broken beats, R&B and electronics in a fascinatingly coherent atmosphere. Ambition is what drives the album and what Shortall goes full throttle for. Really every piece receives a rich instrumentation in which groove is just as important. Strings provide the compositions with that extra something that allows them to grow even further. Shortall has simply recorded a wonderful series of songs with a rock-solid group of musicians around him. Delightfully diverse and provided with ambitious arrangements. So much musicality, so much ambition delivers with BAD WITH NAMES one of the best jazz albums of this year.


Viktor Bensusan, jazzdergisi.com

Tuna Ötenel, Erol Pekcan, Kudret Öztoprak: JAZZ SEMAI (EMI)

The first and (one of) the best Turkish jazz album in history. Semai is a form in Ottoman music. First issued in 1978, Jazz Semai features Tuna Ötenel (p / s), Kudret Öztoprak (b), and Erol Pekcan (d).


Nuno Catarino, jazz.pt


Rodrigo Brandão: OUTROS ESTADO (Comets Coming)

After OUTROS BARATO and OUTROS ESPAÇO (featuring the mytical Sun Ra Arkestra!), Brazilian spoken word performer Rodrigo Brandão is completing an ambitious trilogy. The new OUTROS ESTADO features guest musicians such as Rodrigo Amado, Thiago França, Luís Vicente, José Braima Galissa, Yedo Gibson, Carla Santana and Guilherme Granado. One highlight is The Real X-Man, dedicated to Malcom X: the instrumental drive takes the diseur to new heights of intensity. Another highlight is the famous poem Style by Charles Bukowski, adapted here by Brandão; in parallel, Amado’s galloping saxophone stands out. And the participation of José Braima Galissa, master of the kora, is unforgettable in Dreams Of Drums. Brandão’s words – thoughtful and heartfelt, political and activist – are delivered with the right weight, over very interesting instrumental carpets. The result is a very diverse and original record.


Henning Bolte, freelance


Sylvie Courvoisier: CHIMAERA (Intakt)

In case you want to be get STUNNED by a female MASTERPIECE in dark days, listen to this MUSIC coming from a deeper place in space. It is music that necessarily had to be created, had to come into existence and will enrich us immensely. Let yourself pull into its swathe of sound and let you carry by its reverbs, the echoes of our souls. it’s music you have not heard before, but it comes as something known to your deeper soul. Strange enough the sounds of the opener The Red Poppy immediately triggered associations with the opener of Miles Davis’ BITCHES BREW, and, after a while also associations with Jon Hassell or David Torn. I can better use the German word Anklänge here meaning that sounds of Davis, Hassell and Torn were co-sounding now and then in my mind. Courvoisier’s waves and runs are however lighter, scurrying, more elusive, more mystic, playing with contrasts of dark and light, the mechanical and flowing, of gliding shadows and wild runs and bursts. The ambient turns into surreal regularly, even getting nightmarish once in a while.
     There are eminent musical forces next to Courvoisier bringing this magical sound-light-mood fluctuation into our listening reality: Christian Fennesz’ electric guitar washes and Kenny Wollesen’s greatly timed vibraphone gushing. Composition and performance are two poles of an amazing continuum that manifests and merges in our ears, mind, and soul. One of Courvoisier’s sources of inspiration, the works of visual artist Odilon Redon (1840-1916), a contemporary of Claude Debussy (1862-1918), made it all more strong, bold and brilliant: as he said: “… my drawings inspire and are not to be defined. They place us, as does music, in the ambiguous realness of the un-determined.” (Odilon Redon)  This extraordinary music work emerging from a long course of musical exploring development has been released as double album of twice 43 minutes running time. It no doubt deserves a decent vinyl edition!


Sebastian Scotney, LondonJazz News (UK)

Tori Freestone And Alcyona Mick: MAKE ONE LITTLE ROOM AN EVERYWHERE (Self-released / Bandcamp)

In his review for LJN, Jon Turney writes of this delightful album by the sax / flute and piano duo – plus their guests, vocalists Natacha Atlas and Brigitte Beraha, recorded at Artesuono Studios in Umbria: “On several tracks Freestone and Mick enter that duo zone where close musical collaboration turns into symbiosis. Neither  appears to lead or follow: they are simply co-creating the flow.”


Patrik Sandberg, Jazz

Tonbruket: LIGHT WOOD DARK STRINGS (Smuggler)

This time Tonbruket have worked less with effects, synthesizers, collages which may have been one of their hallmarks. It’s a more acoustic and intimate record, but of course they  use the studio’s possibilities and works less classically jazz-oriented than before. Still, they hold collective improvisation in high regard.


Cim Meyer, Jazz Special

Marius Neset & Norwegian Radio Orchestra: SUMMER DANCE (ACT)

Neset’s arrangements might be over-embroidered. Nevertheless, it is even more impressive that the radio orchestra pulls it off – live! Grand and fierce music. But who am I writing about music? It’s like dancing about architecture, as Monk once said.


Lars Mossefinn, Dag og tid


André Roligheten: MARBLES (Odin)


Matthieu Jouan, citizenjazz.com


Leïla Martial - Valentin Ceccaldi: LE JARDIN DES DÉLICES (BMC)

With an incredibly inspired selection of songs based on French poetry and their own compositions, the voice-cello duo has finally, after many years of concerts, given themselves the pleasure of capturing these great moments on record. And, of course, BMC is there. It’s with this kind of music that we can answer the question: is there a kind of French jazz?


Axel Stinshoff, Jazz thing


Rymden: VALLEYS & MOUNTAINS (Jazzland)


Luca Vitali, Giornale della Musica


Federica Michisanti Quartet: AFTERNOONS (Parco della Musica)


Yves Tassin, JazzMania


Mikael Godée & Eve Beuvens Quartet: INGEN FARA (Igloo)

The marriage of the waves of the North Sea and the tumultuous waters of Kattegat. (Pierre Dulieu)

Jos Demol, jazzhalo.be

Cécile Broché: 3D@PARIS (discus)

3D@PARIS interweaves music with the sounds of everyday life in Paris. Let yourself be swept along on a dreamy stroll through the city. The charm of murmuring voices. The fascinating musicality of crumpling paper, the rhythmical beat of the Metro. The musicians respond, enhance, offset. There is a beguiling story being told here.
     As a composer, Cécile Broché proposes a completely original and personal approach to the violin. Drawing her inspiration from her encounters and a varied career, she explores the potential and the possibilities so particular to the electric violin; rhythms, melodies, sound images, unsuspected palette… It is also a meeting of music and sounds of everyday life. On stage, the violin underlines them, opposes them, pulses. It is simply a story, the story of life, told with sounds.


Christof Thurnherr, Jazz’n’More


Lucas Niggli’s Sound Of Serendipity: PLAY! (Intakt)


Kaspars Zavileiskis, jazzin.lv


Matīss Čudars Trio: TAKE YOUR TIME (Jersika)

Latvian Matīss Čudars (g, comp) studied on both sides of the Atlantic, and his primary passion is jazz and the search for new creative ways in it. This album together with Edvīns Ozols (b) and Ivars Arutyunyan (d) was made slowly, in parallel with many other projects of the musicians involved, and you can hear this combination of slowness with high musical quality in this mixture of jazz, blues and at some point, maybe even a touch of country. It is not for nothing that this program received the highest professional music award in Latvia even before the recording last year – the Grand Music Award for a concert performance in Riga’s leading jazz cafe M/Darbnīca. Take Your Time and enjoy guitar twists on a very solid drum and bass foundation as ballerinas on the cover of this vinyl does!


Jacek Brun, www.jazz-fun.de


Stephan-Max Wirth Experience: PRINTEMPS FATAL (Bos)

Stephan-Max Wirth and colleagues use the tradition of mainstream jazz, but at the same time it is thoroughly modern music. The attractive compositions pulsate with rhythm. The music is sublime, yet friendly and communicative. The beautiful tenor and soprano sound and the improvisational inventiveness of the leader are always delightful. The album seduced me from the first notes, it sounds wonderful.


Madli-Liis Parts, Muusika


Sylvie Courvoisier: CHIMAERA (Intakt)


Paweł Brodowski, Jazz Forum


Weather Report: LIVE IN BERLIN 1971 (GAD)

This unique double album is a true sensation. Put out by an independent Polish label, it is the first official release of Weather Report’s legendary concert which took place on September 3, 1971, in Berlin, as part of a workshop series organized by the Nord Deutscher Rundfunk. Its historical value is underscored by the fact that it was the only occasion when WR was joined by a three-horn section that included two British saxophonists: John  Surman and Alan Sidmore, and Swedish trombone player Eje Thelin. This experimental session was held only four months after WR’s very first album which put the pioneering group into the limelight.
     As is well-known, Weather Report turned out to be the greatest, most important, and most influential group of the fusion era, alongside the Mahavishnu Orchestra and Return to Forever. Something of an extension of Miles Davis’ BITCHES BREW, it was started in 1970 by Joe Zawinul (key) and Wayne Shorter (s), with a little help from Miroslav Vitouš (b), who claimed to be a co-founder. This particular lineup also included Alphonse Mouzon (d) and Dom Um Romão (perc).
     Listening  to these tapes, we are witnessing the birth of new music beyond category. A dozen fascinating compositions by Zawinul, Shorter  and Vitouš filtered through the process of collective improvisation, where “no one solos and everybody solos”. Released on two CDs and two LPs.