In this day and age, who still writes love songs for a chosen woman of yesteryear? With sounds that whistle deep blue and remind you of the blues - the origins of jazz? - in his new composition Robin Verheyen takes colors from Jean Fouquet’s ‘Madonna’ and assigns them to his tenor and soprano, the three musicians of the Goeyvaerts String Trio and the 88 keys of Marc Copland’s piano.

The masterpiece ‘Madonna’ in the Royal Museum of Fine Arts Antwerp dates to around 1452 and is the right half of a diptych. The other piece, in Berlin, depicts the client of this work of art and his patron saint. Together, they form the so-called Melun diptych. In Antwerp you can see a ‘Maria Lactans’: the intimate theme of a mother breastfeeding her child. Because the subject was always updated to the fashion, taste or insights of the time, it continues to give new meaning.

In Master Fouquet’s version, seraphs and cherubs appear. Throne and crown also replace the old-fashioned Gothic gold aureole. But the Madonna remains exalted with all good things: ‘de tous bien plaine’. That is certainly how the coveted chanson by Hayne van Gizhegem from Fouquet’s time sounds (which was incorporated by Robin Verheyen into his composition). They both free their art from devotion and cautiously put the autonomous aesthetic experience first. Mary becomes heavenly and profane, simultaneously. Her ivory skin remains unblemished, but - so the gossip of the time wants: “Isn’t that Agnes Sorel”, the mistress of the French king? Is the most beautiful woman of the beau-monde a model for the Mother of God?

In ‘Blues, Reds and Other Songs’, Robin Verheyen draws inspiration from the characteristic harmony of the budding renaissance with quotes (such as the hymn Ave Maris Stella), canon techniques and faux-bourdon. Could the musical ornaments and fugal imitations of that period already have predicted the uniqueness of jazz?

A composition is made up of different layers. In a painting, this is represented by the harmony between horizontal, vertical and the suggestion of depth with a front, middle and back plan. Mary with child, the throne and the angels, especially the blue ones, in the depths can be translated into the polyphony of the music. In contemporary music we may too often listen to what’s on the surface: the highest voice, the melody. Polyphony, on the other hand, is an exercise in a continuous interaction between all voices that shift in a virtuoso way between foreground and background. Verheyen’s composition makes the connection between all these voices and layers in an organic way.

Tempo and rhythm is the flow with which the eye explores the composition. The exposed bosom probably lingers on many retinas a little longer. Let’s not view that perfect geometry by today’s standards lest this noblewoman be suspected of plastic surgery. The idealized form fits within a Platonic perspective and is even a compelling moral exhortation to relationships stripped of sensuality or desire. The mysterious appeal of the painting and this newly created music corresponds precisely within the search for what perfection and aesthetics mean in a given time.

- in his new composition Robin Verheyen takes colors from Jean Fouquet’s ‘Madonna’ and assigns them to his tenor and soprano, the three musicians of the Goeyvaerts String Trio and the 88 keys of Marc Copland’s piano
- Available as cd and lp

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Empty Empty is Cinema Paradiso's 3rd album.
Cinema Paradiso functions as a trio without a leader, consisting of Kurt Van Herck (Brussels Jazz Orchestra, Dizzie Gillespie Big Band, Bert Joris Quartet), Eric Thielemans (A Snare is a Bell, EARR, Talking About the Weather) and Willem Heylen (KRAKk, Aki, Sargam).

After his guest contributions on several tracks during the recording sessions that resulted in the compilation of the first two albums (Volume I and Volume II), Jozef Dumoulin (Lidlboj, The Red Hill Orchestra, True Company) was involved in the entire creation and recording process of Empty Empty.

Now focusing on original compositions (along with some Indian chants and a piece by Claude Debussy), this album also distinguishes itself from the previous two albums by presenting a new sonic landscape.  Blending the rich timbres and textures of both the acoustic and electric sonic worlds of the musicians, we were looking to get a strong, direct, full sound that still retains enough detail and acoustic warmth.

The album was recorded and mixed by Joris Caluwaerts (Stuff) at his Finster Studio in Antwerp.

- Available as CD and LP
- The album was recorded and mixed by Joris Caluwaerts (Stuff) at his Finster Studio in Antwerp.

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Where would a painter paint if it were not on a white canvas? Where would a composer compose if it were not on the stave and the spaces in between the lines? How would a musician play his instrument if there were no melodies composed, written down, painted for him to follow?

The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.

Consistency being one of them seems oftentimes less tangible, for it resides more in the act of doing, and showing up for the practice, for devoting energy and presence. Strangely, if we consistently show up for our practice, regardless of its form, the solid frame of the hour we devote to playing the instrument, learning a language, doing the sport, sitting silently for that meditation: It feels different every single time. It feels new every single time.

The repetitive consistency in being present again and again allows for nothing short of magic to happen. Magic feeds consistency. Consistency feeds magic. Consistency sets a foundation that strengthens over time. It allows us to slowly but surely develop any kind of skill, to find and hence to embody expertise. On the fertile grounds of such a solid foundation, creativity fosters, and innovation blossoms.

Establishing consistent rituals and routines can bring a sense of comfort and safety into every-day-life. For routine beholds repetition and its frame enables our experience within to change. In the familiar, we dare to explore, maybe even experiment, merely because a part of us remembers we depart from, and always return to, a safe space. We do not get lost. We do not fall apart. As we practice, again and again, we build resilience in overcoming obstacles or literally persevering through challenging situations and stretches of time.

While consistency gifts steadiness and stability, its overdose risks to result in what may appear as uniformity. It feels like constantly - consistently - dancing on the fine line of freedom within a structure. Life is filled with unexpected twists and turns, adjustments need to be made to accommodate change and avoid rigidity. By striking a balance between consistency and flexibility, we can create harmony in our lives, just like a beautiful melody that flows smoothly from one note to the next.

Within the magical waves of music, skills are needed, too. Consistency is key to show up and do the work. It frames the freedom of magic that resides beyond and only beyond effort. Learning to play an instrument, learning to sing, does never happen within the blink of the eye. It takes time. Time to show up for the practice, to do precisely that: practice. Again and again, every single time, again and again. Precision feeds perfection that falls apart inside the structure of a song, a line, a rhythm, dissolving into magic.

Consistency in practicing, in composing and sharing music with the world regardless of the form allows any musician to refine his style, to carve out his uniqueness. For any artistic expression is, after all: Unique. And this uniqueness is born inside the vessel of any structure, over and over again. Sharing music in the form of new releases and public performances nourishes the bond between artist and audience. And for that to unfold, both parties need to show up - while the underlying beat of this never-ending practice is presence fuelled by consistency.

- Featuring Seamus Blake on Saxophone, Julius Peter Nitsch on Bass and Peter Gall on Drums
- Available as Cd and LP

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Quiet Dreams, the debut album of the Ramon van Merkenstein Trio, was released at the end of 2021. At that time, the world was recovering from the COVID lockdown, and we hadn’t been able to play live music for quite some time. Fortunately, we were able to go on an extensive release tour to promote our music, growing closer as a band along the way. We learned a lot about each other, both musically and personally. Our trio has always been about connecting — with the audience, with the music, and with each other. This intense period strengthened these connections, resulting in a powerful band that is elevating the music to new heights.

During this time, I began composing new music specifically tailored to our trio’s chemistry. I knew exactly how to write to bring out the best in Lieven, Gabriele, and the band. This is the new music on Waiting for a Summer Storm.

The album became a collection of moods, reflecting the deep connection between music and emotions. Each track tells a different story: from the excitement of sudden insight in Epiphany to the calm acceptance of fate in Waiting for a Summer Storm. Reflecting captures moments of introspection, while Green Garden celebrates joy. Apollo’s Daydream is about chasing your dreams, and Shadow Song is my tribute to my wife, Inge. Dauntless embodies the feeling of being unstoppable, and Chez Lydia captures the thrill of playing live with an audience.

Waiting for a Summer Storm is more than an album; it’s a reminder of how strong music is. Each piece serves as a portal into the collective consciousness of the trio. It’s a tribute to new beginnings, to adventures yet to come, to dreams waiting to take flight.

to be added

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The Kaiju Project is a Japanese inspired jazz group formed by the half Japanese-Austrian pianist Aseo Friesacher. Their initial idea was to bring old folk songs into a new modern context, but in addition to their compositions, this group has found their very own musical direction: a perfect blend of traditional Japanese music and meditative-creative jazz.

Aseo’s composition style is clearly rooted in Jazz, but with the use of traditional Japanese melodic elements and sounds, the music becomes very storytelling and gets a beautiful and mystic character. Also some famous soundtracks from the Ghibli movies and songs by the Japanese singer Hibari Misora, that Aseo has arranged for the band, are included in their repertoire.

The bandleader has had the vision for a long time to create this unique fusion of traditional Japanese music and Jazz in order to bring together the eastern and the western world. In fact, the meaning lies his name A-se-o, “亜為欧“: living for Asia and Europe.

The band went through a couple of changes in their formation but finally resulted in a dream team, featuring two Japanese musicians who bring the authentic sound to the band: Waka Otsu as the vocalist and Fuefuki Kana on Japanese flutes and silver flute. Furthermore there is the highly accomplished and respected ECM artist, drummer and percussionist Joost Lijbaart and the virtuosic and talented bassist Johannes Fend, who make the group complete. So far the Kaiju Project has toured in the Netherlands where most of the band members are based, they have performed in Germany and recorded their first album.

- a perfect blend of traditional Japanese music and meditative-creative jazz
- available as CD and LP
- 180 grams black vinyl, gatefold

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Hunting for rhythm, as if our lives depended on it, as if, without rhythm, we’d starve to death. Can body and soul live without rhythm? Seizing its different forms, dissecting it, ingesting it, digesting it, could very well be akin to the Rhythm Hunters’ creative process. What are the rhythmic principles that lead us to develop its polyphonic, groovy and trance-like aspects (Africa), or mathematically complex ones (India), or irregular pulsations that transcend asperities (Balkans), among others? To go on a rhythm hunt, why not explore all these places, appreciate the infinite diversity of rhythms and, back home, try to understand and experiment with enriching your own rhythmic vocabulary with the basic principles underlying each musical tradition. What can these principles contribute if you transcend borders and begin to adapt your musical knowledge and experience to the new ramifications of the rhythm you’ve just discovered? The music of The Rhythm Hunters is one of the answers.

A few years ago, the musicians in this band and I began a specific practice on unusual mixes of rhythmic ideas, inspired by traditions from various parts of the world, with the intention of integrating them until they became a personal vocabulary and means of expression. The result is on this album.

- Available as CD and LP
- 180 grams black vinyl
 

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This release follows Chantal's earlier musical odysseys, including Let Your Hands be My Guide (2013), The Sparkle In Our Flaws (2015), Bounce Back (2017), Puwawau (2019) and Saturday Moon (2021). Each album, a testament to her artistic evolution, has resonated with audiences worldwide.
 
Silently Held comes to life with the collaborative brilliance of accomplished musicians. Bill Frisell with his beautiful understanding of Chantal’s flow of melody, Eric Thielemans who brings his percussive mastery to the mix. Jozef Dumoulin playing the piano with immense calmth. Thomas Morgan's who seems to be picking magic out of the skies with his bass and Shahzad Ismaily's golden touch as a multi-instrumentalist contribute to the album's rich texture. Colin Stetson, renowned for his avant-garde saxophone work but also his work for  Bon Iver, lends his unique voice, creating moments of emotive intensity.

And Joachim Badenhorst, Niels Van Heertum and Kurt Van Herck finishing the album with their beautiful brass.
Guided by the skilled production of Philip Weinrobe (known from his work for Dirty Projectors and Adrienne Lenker) the album's sonic landscape is carefully crafted. Most of the songs recorded in one take. One breath to keep close to the realness and rawness Chantal was looking for. Meanwhile, the experienced touch of mixing engineer Phill Brown (Talk Talk, Mark Hollis,..) who has been very present on Chantal’s journey for years.
 
In the quiet embrace of the music, Chantal unveils a raw and authentic portrayal of vulnerability, where every flaw and feeling is held close. The album becomes a sanctuary, inviting listeners to join in this silent communion with the intricacies of the human experience. Through each note and lyric, Chantal Acda crafts a space where imperfections are not only acknowledged but celebrated, creating a profound and intimate connection between the artist and the audience. "Silently Held" stands as a testament to the beauty found in the closeness of our flaws and feelings, inviting us to embrace them with grace and authenticity.

- 180 grams black vinyl
- - Available as CD and LP
- The album is a dance between Bill Frisell (US), Thomas Morgan (US), Shahzad Ismaily (US), Colin Stetson (US/CA) and Chantal Acda (BE)
- The album was recorded by Phill Brown / Talk Talk- Mark Hollis- Joni Mitchell)
 

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‘Heaven on my mind’ is the fifth album by the Yuri Honing Acoustic Quartet and will be released in September 2023 for Challenge records. After the thematic albums 'True' (2012 inspired by Berlin and David Bowie). 'Desire' (2015, an instrumental opera about longing), 'Goldbrun' (2017 a homage to Europe and Honing's interest in European art music) and 'Bluebeard' (2020, a dark album mainly inspired by the 300-year-old fairy tale of the same name), there is now 'Heaven on my mind'.

An album on which the quartet's now decade-long existence undoubtedly pays off. Not only is the almost telepathic way the band members communicate with each other an important feature; this fifth quartet album also clearly shows Honing's love for Charles Lloyd, Pharoah Sanders and the freer acoustic jazz that emerged along with the 1960s hippie movement.

- Available as CD and Limited edition Vinyl
- This fifth quartet album also clearly shows Honing's love for Charles Lloyd, Pharoah Sanders

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The continuing growth of Maik Krahl as a melodic improviser, bandleader, and composer is distinctly evident in this new release. In-Between Flow, Krahl’s third outing as leader, is a portrait of a young artist who has gone through many years of dedicated hard work, study, experimentation, and refinement in order to achieve this level of instrumental and artistic prowess. Krahl belongs to a new generation of improvisers who have acquired a breadth of technical and theoretical facility, while not losing the spontaneity and rawness of this music we call jazz. As a bandleader, he chooses his colleagues wisely and for this date is joined on a few tracks by the visionary guitarist Kurt Rosenwinkel, whose brilliant playing adds a cherry on top of this already delicious line up.

The title In-Between Flow refers to ever evolving progression of our human condition. As in nature, the human spirit can expand and unfold, maturing to a new state where it may settle for a while until some new impulses inspires another transition. These transitions, sometimes subtle, sometimes abrupt; as well as the times of contentedness and serenity are the inspirations for this music.

The record opens up with an ode to the town Krahl calls home. Cologne 4 AM, begins with a haunting melody by Krahl’s soft yet powerful horn before settling into a perfect vehicle to display his command of melodic and motivic story telling. There is something about the time of 4 AM that seems to permeate literature and music, and this track will add to the canon of artistic references to this magical time where the night meets the morning.

Mr. Rosenwinkel joins the band for Slosetta, which is a great example of Krahl’s ability to craft a tune. As is to be expected, Rosenwinkel weaves through the changes with grace and mastery, obviously enjoying the communication with the rhythm section, who are undeniably inspired by his harmonic, rhythmic and melodic ingenuity.

Jakob Kühnemann, a Bandleader and composer is his own right, has been an in demand bassist on the German and European scene for several years, and his contribution to this record is proof of why that is. Although Krahl takes the lead on Drizzle Counter, in a great display of technical virtuosity, it is Kühneman who stands out on this track. It is not only in his improvisation, but more so in his poly rhythmic pulses dancing up from the deep and the harmonic insinuations in his accompaniment of Krahl’s solo that demonstrate his musical mastery.

Rosenwinkel joins again for No Claim Claim, a composition so balanced that I would not be surprised to hear other artists recording or performing it in the future. After Krahl’s melodically inventive statement, Rosenwinkel shifts the band to the next gear building the intensity towards the out head.

Constantin Krahmer has been Krahl´s piano player since his debut record, Decidophobia. His patience, ingenuity, and big ears make him a perfect accomplice to Krahl, and his sensitive yet powerful approach and accompaniment on Reconstruction of a Dream as well as his harmonic and melodic inventiveness on Vinaceous Clouds (where he plays Fender Rhodes) make it clear why he is an integral part of this unit.

Ms Ludgate is a funky composition with angular melody that is another feather in the cap of the band leader. Kurt Rosenwinkel is back, and seems more than willing to engage in some rhythmic dialogue with the spectacular young drummer on the date, Fabian Rösch. Throughout this entire record Rösch is subtly but strongly guiding the band, playing his role as a supportive and interactive proponent to the music. We will surely be hearing much more from this young man with such a refined sound and clear rhythmic conception.

Flawless Sunday, a perfect closing statement for this record. The melody is another great example of Krahl’s growth as a composer. The whole rhythm section really shines on Krahmer’s choruses, where the three colleagues push and dare each other rhythmically as well as harmonically before Krahl enters and brings the record to a close with his beautiful rich tone and melodic playing.

It is a great pleasure to hear the growth of a young artist with such dedication and vision. Hearing how Krahl and his band mates navigate through the vicissitudes of this music is an inspiration that can be mirrored in everyday life. A lesson in accepting the ever changing flow from one state to another. Growing, learning, and evolving into a new state, until the process begins anew. In-Between Flow.

- The second Maik Krahl Quartet album on Challenge Records
- Joined on a few tracks by the visionary guitarist Kurt Rosenwinkel
- 180 grams audiophile vinyl

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As I write these notes sitting on my balcony in July 2022, it has been more than 9 years since the release of my debut album un | ان and more than 11 years since it was recorded. The time since has been a personally tumultuous period of twists and turns – retreat, reflection, realization, reassessment, therapy, triumph, trial and error – entangled in a decade-long creative block that had me questioning whether I would ever be able to compose again. Though I felt there was so much I wanted and needed to say, I felt I had lost my voice, or perhaps never had one in the first place. A constant knot had grown tighter and tighter within me over time, but I did not understand what had created it or how it might be undone. In 2018, shaken awake by the collision of two transients, I suddenly saw in a new light old patterns whose familiar presences I realized I had felt for much of my life, but had until then never seen for what they were. Following a third, I finally found the humility to surrender, and as I began re-examining and confronting myself, I slowly started to discover new answers – and new questions to ask. Then the Covid-19 pandemic happened, and the world stopped. Like so many of us caught in the new eerie calm, I retreated into inner spaces. I began revisiting sketches of ideas I had accumulated over the years, and finally, very, very slowly, new music started to come.

 

- Ft. Jason Palmer, Bulut Gülen, Layth Sidiq, Naseem Alatrash, Utar Artun, Kyle Miles, Keita Ogawa, Vancil Cooper and Luis Bacqué
- 180 grams audiophile vinyl
- "This is an album meticulously pulled together into a dense fabric of diverse musical threads. It merits repeated listening; with each fresh listen, the richness of Reijonen’s intercultural vocabulary becomes more apparent.” London Jazz News - "Even in our present jazz moment, when the art form is worldwide and vital, albums that come as complete surprises are relatively rare. Three seconds Kolme Toista is a stunner." Jazz Times - " Three seconds Kolme Toista is spellbinding from beginning to end, and full of virtuoso performances." AllAboutJazz

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