What happens when three restless musicians enter the world of John Coltrane, not to recreate it, but to see where it might lead?
There are musicians who play the music of the past. And there are those who listen for what is still waiting to be discovered inside it.
In 2026, the centenary of John Coltrane’s birth becomes the starting point for a new journey. On MiXMONK Supreme, Joey Baron, Bram De Looze and Robin Verheyen immerse themselves in the music of one of jazz’s most visionary voices, allowing his spirit of freedom, intensity and discovery to spark something entirely their own.
Recorded during...
What happens when three restless musicians enter the world of John Coltrane, not to recreate it, but to see where it might lead?
There are musicians who play the music of the past. And there are those who listen for what is still waiting to be discovered inside it.
In 2026, the centenary of John Coltrane’s birth becomes the starting point for a new journey. On MiXMONK Supreme, Joey Baron, Bram De Looze and Robin Verheyen immerse themselves in the music of one of jazz’s most visionary voices, allowing his spirit of freedom, intensity and discovery to spark something entirely their own.
Recorded during a residency at Muziekcentrum De Bijloke, the album feels less like a tribute than a conversation across time. Coltrane’s music opens the door; MiXMONK walks through it with its own unmistakable energy. New original compositions meet music from Crescent, Coltrane’s deeply lyrical and intimate masterpiece, reshaped through the trio’s instinctive interplay and adventurous imagination.
There is reverence here, but no nostalgia. The music moves, breathes and takes unexpected turns. Baron, De Looze and Verheyen listen closely to each other, leaving space for surprise and allowing every piece to become a place of exploration. Nothing is fixed. Themes appear, disappear and return transformed. Silence becomes part of the conversation. A rhythm can suddenly loosen its grip. A familiar melody finds another way of breathing.
MiXMONK began in 2017 as a celebration of Thelonious Monk’s centenary. What started as a tribute soon grew into something more enduring: a meeting of three singular musical minds, bringing together the inventive spirit of Belgian jazz with the extraordinary presence of American drum legend Joey Baron.
Pianist Bram De Looze and saxophonist Robin Verheyen have each developed distinctive voices on the international jazz scene, while Joey Baron has spent decades shaping some of the most adventurous music of his generation, through collaborations with artists including John Zorn, Bill Frisell and Marc Copland.
Their first two albums, MiXMONK (2019) and On The Loose (2022), established the trio’s unique chemistry: playful, fearless and deeply connected.
With MiXMONK Supreme, that chemistry enters new territory. It is not an answer to Coltrane. It is a continuation of the question.
Coltrane is the spark. The rest is discovery.
- Released in the centenary year of one of jazz’s greatest innovators, MiXMONK Supreme offers a fresh, forward-looking perspective on Coltrane’s enduring musical legacy.
- Music from Coltrane’s deeply lyrical 1964 masterpiece Crescent is transformed through MiXMONK’s contemporary approach, alongside compelling new original compositions.
- Following MiXMONK (2019) and On The Loose (2022), the group builds on nearly a decade of collaboration, taking its unmistakable musical chemistry in a bold new direction.
- The album connects Coltrane’s pioneering artistic vision with the imagination of three contemporary musicians, bridging jazz history and its evolving future.
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With This is not David Bowie, the Yuri Honing Acoustic Quartet does not present a traditional tribute, but a personal reflection on what Bowie represented: freedom, transformation, and the courage to cross boundaries.
For Yuri Honing, Bowie was an early source of inspiration not only musically, but above all through his uncompromising drive to reinvent himself. That same spirit runs through Honing’s own work, shaped by jazz, improvisation, visual art, literature, pop, rock, classical music, non-Western traditions, and electronics.
The quartet reapproaches Bowie’s music through its own language. Using fragments of compositions, harmonies, atmospheres, and ideas as starting points, the musicians create...
With This is not David Bowie, the Yuri Honing Acoustic Quartet does not present a traditional tribute, but a personal reflection on what Bowie represented: freedom, transformation, and the courage to cross boundaries.
For Yuri Honing, Bowie was an early source of inspiration not only musically, but above all through his uncompromising drive to reinvent himself. That same spirit runs through Honing’s own work, shaped by jazz, improvisation, visual art, literature, pop, rock, classical music, non-Western traditions, and electronics.
The quartet reapproaches Bowie’s music through its own language. Using fragments of compositions, harmonies, atmospheres, and ideas as starting points, the musicians create new interpretations in which melodies may remain recognizable or only the spirit of a song lingers.
This project is therefore not about imitation or nostalgia. It is about curiosity, imagination, and the ongoing search for new artistic connections. Just as Bowie continually opened new worlds, the Yuri Honing Acoustic Quartet explores how music can keep moving forward without losing its identity.
- Yuri Honing’s broad artistic background connects jazz and improvisation with visual art, literature, rock, classical music, non-Western influences, and electronics.
- At its core, this album asks how music can keep evolving while staying true to its own identity.
- Available as cd and vinyl
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The conditions under which Schubert’s art of the song developed into a kaleidoscopically incandescent spectrum that crossed over genres and the institutionally set, historical boundaries disappear today as a rule under the pedestal that the late nineteenth century began to erect for the composer. The traces of improvisational practice were increasingly lost within a music culture that stylised the printed manuscript into a quasi sacred object. A particularly successful way of leading back to a fundamental impetus in Schubert’s art of the song is through an approach towards the songs that takes the moment of spontaneous performance seriously as a...
Show moreThe conditions under which Schubert’s art of the song developed into a kaleidoscopically incandescent spectrum that crossed over genres and the institutionally set, historical boundaries disappear today as a rule under the pedestal that the late nineteenth century began to erect for the composer. The traces of improvisational practice were increasingly lost within a music culture that stylised the printed manuscript into a quasi sacred object. A particularly successful way of leading back to a fundamental impetus in Schubert’s art of the song is through an approach towards the songs that takes the moment of spontaneous performance seriously as a communicative act, without denying the work character of Schubert’s music. The idea of ‘one’ universal human voice seems to materialise with particular intensity in the commingling of two voices of similar timbre, which can permanently interchange and double their identity. Based on our knowledge for instance of the Schubertiade reminiscences of 1868, remembered and noted down by Moritz von Schwind, can we not imagine that the ‘Schubert singers’ Johann Michael Vogl and Karl von Schönstein might indeed have sung alternately (or even in unison)?
Christoph Prégardien:
When a second part suddenly crops up in a Schubert song, many people say of course: are we allowed to do this to Schubert? Even I had to be persuaded at first to consider the improvisational element, however, our approach to adopting it didn’t happen arbitrarily, but in the context of our awareness of music-making in past centuries.
Michael Gees:
You can formulate reasons that aren’t based on historical knowledge but ensue from the music itself. "Nacht und Träume” (Night and Dreams), for example – you listen to this music, you hear that it bears a potential within: the potential of starting out from the rather simple structure and being able to ramify practically into endlessness. This opens up spaces in which you can go on fantasising without bounds. In this context our versions are not actually “contrived”, but formed by “eavesdropping” on the music itself to a certain degree. If I hear it, I hear something like another “I”, another self, a corresponding multi-voice being.
Julian Prégardien:
In our arrangements we first and foremost wanted an encounter with the prodigious complexity of Schubert’s oeuvre in lied and to show that boundaries overlap! Schubert composed the song “Widerspruch” (Contradiction) in two versions in any case – namely the solo version and as an ensemble lied – and we are now in a way adding a third. With “Licht und Liebe” (Light and Love) we have also included an original composition for two voices, as well as dramatic ballads, convivial vocal ensembles and elegiacally meditative solo songs which we have “heard” anew and arranged in various ways.
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On Daydreaming, Italian saxophonist and composer Carla Marciano transforms memory, grief and love into an intensely personal musical journey. Dedicated to her father Giovanni, the album reflects the profound bond between father and daughter and the lifelong passion for music he inspired in her. Marciano’s compositions move between intimate reflection, lyrical beauty and powerful improvisation. Her alto and sopranino saxophones are joined by her long-standing quartet (Alessandro La Corte, Aldo Vigorito and Gaetano Fasano with Dario Deidda appearing on acoustic bass). Several pieces are further enriched by the Philharmonic Orchestra of the “Giuseppe Verdi” Theater in Salerno, conducted by Antonio Sinagra. Created...
Show moreOn Daydreaming, Italian saxophonist and composer Carla Marciano transforms memory, grief and love into an intensely personal musical journey. Dedicated to her father Giovanni, the album reflects the profound bond between father and daughter and the lifelong passion for music he inspired in her.
Marciano’s compositions move between intimate reflection, lyrical beauty and powerful improvisation. Her alto and sopranino saxophones are joined by her long-standing quartet (Alessandro La Corte, Aldo Vigorito and Gaetano Fasano with Dario Deidda appearing on acoustic bass). Several pieces are further enriched by the Philharmonic Orchestra of the “Giuseppe Verdi” Theater in Salerno, conducted by Antonio Sinagra.
Created during a period marked by the loss of both parents and Marciano’s recovery from a serious road accident, Daydreaming is also a testimony to resilience and renewal. The music evokes childhood memories, shared songs, imagined embraces and the enduring presence of loved ones. It is an album about absence, but above all about gratitude, courage and a love that continues beyond time.
- Daydreaming is dedicated to Carla Marciano’s father, Giovanni, transforming love, memory and loss into an emotionally powerful jazz statement.
- Her long-standing quartet is expanded on several tracks by the Philharmonic Orchestra of the “Giuseppe Verdi” Theater in Salerno
- The music moves between intimate reflection, lyrical melodies, expansive orchestration and intense improvisation
- Available as cd and lp
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Vice Versa was created out of the need of Belgian pianist Bram De Looze’s (LABtrio, Joey Baron, Thomas Morgan, Hank Roberts) to collaborate with artists who he feels are natural extensions to his sound. He quickly found kindred spirits in New York master drummer Eric McPherson (Jackie Mclean, Andrew Hill, Pharoah Sanders, Fred Hersch) and Berlin bassist Felix Henkelhausen (Jim Black, Nate Wooley, Lotte Anker), two compositional masterminds with a boundless sense of rhythmic inventiveness.
The versatile and exploratory trio sets the bar for expressive interpretation and inventive creativity high. They traverse different approaches in which musical rules change without losing...
Vice Versa was created out of the need of Belgian pianist Bram De Looze’s (LABtrio, Joey Baron, Thomas Morgan, Hank Roberts) to collaborate with artists who he feels are natural extensions to his sound. He quickly found kindred spirits in New York master drummer Eric McPherson (Jackie Mclean, Andrew Hill, Pharoah Sanders, Fred Hersch) and Berlin bassist Felix Henkelhausen (Jim Black, Nate Wooley, Lotte Anker), two compositional masterminds with a boundless sense of rhythmic inventiveness.
The versatile and exploratory trio sets the bar for expressive interpretation and inventive creativity high. They traverse different approaches in which musical rules change without losing momentum. This leads to an interesting musical synthesis where the spirit of traditional jazz language emerges during intuitive musical excursions within free improvisation and contemporary music.
Their debut album ‘Vice Versa’ came out in 2023 on Dox Records to great acclaim. In january of 2025, while Bram De Looze was the Artist in Residence at Brussels Jazz Festival in Flagey, they recorded their second album live on stage, witnessed by a sold out Studio 1. This album will be released by Challenge Records (NL) in February of 2026.
With support by the Flemish Government
- A meeting of three visionary improvisers: Vice Versa unites pianist Bram De Looze, drummer Eric McPherson, and bassist Felix Henkelhausen — three artists from distinct creative hubs (Belgium, New York, Berlin) who share a deep-rooted instinct for musical exploration.
- Cross-continental synergy: Bridging Brussels, New York, and Berlin, the trio embodies a truly international conversation in contemporary jazz.
- Artist-led evolution: Born from Bram De Looze’s vision to collaborate with natural extensions of his musical identity, Vice Versa is a project of pure artistic chemistry rather than convenience.
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All the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story — one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning. The opening track, “Wu Wei,” sets the tone. A central concept in Taoist philosophy, Wu Wei translates to “non-action” — not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create...
Show moreAll the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story — one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning.
The opening track, “Wu Wei,” sets the tone. A central concept in Taoist philosophy, Wu Wei translates to “non-action” — not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence.
“One” speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together — a shared humanity that transcends our differences.
“Home” represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it’s something they must find or create. But for all of us, the feeling of home is essential to live a fulfilled life.
“Reflections in the Water” is an introspective piece — a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me.
“Seven Virtues, Seven Sins” explores the dualities of human nature — the push and pull between good and evil, right and wrong, light and shadow. It’s a reflection on the moral questions we all face and the deeper quest for inner truth and balance.
In “Samsara,” the cyclic nature of existence is made audible: life, death, and rebirth — endlessly repeating. It reminds us that every end carries the seed of a new beginning.
“Blues for Sadako” is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war.
The final track, “Healing,” is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing — a return to compassion, empathy, and wholeness.
Throughout this album, I’ve tried to express something honest — something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding — just like a flower grows, slowly and naturally, in its own time.
You cannot force growth. You cannot force mastery. The moment you think you’ve arrived, life will humble you. There is no final destination — only the ongoing path.
Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept — to let go, and to allow life to unfold. This is the essence of Wu Wei. To move in harmony with the world, to follow your inner voice, to grow in all directions like a tree, to live fully in the present — this is not just a philosophy, but a way of life.
This album is an invitation to listen — not just to the music, but to yourself.
- Aseo Friesacher
tba
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Master drummer Stéphane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf…) presents Kanda, a fresh and polymorphous trio with Lúcia Pires (Steps, Edoardo Cimino, Tomorrow’s Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stéphane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means “chapter” and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and...
Show moreMaster drummer Stéphane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf…) presents Kanda, a fresh and polymorphous trio with Lúcia Pires (Steps, Edoardo Cimino, Tomorrow’s Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stéphane Galland & The Rhythm Hunters) on electric bass, samples and effects.
Kanda refers to many different concepts. In Sanskrit, the word means “chapter” and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis.
With these branching spiritual meanings, it’s no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords.
Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From its conception, the trio immediately started developing its unique essence.
With this project, master of rhythm Stéphane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.
- available as cd and vinyl
- Where Rhythm Meets Innovation: Led by master drummer Stéphane Galland, Kanda blends traditional rhythms with futuristic sound design to create an experience unlike any other.
- Featuring emerging talents Lúcia Pires and Louise van den Heuvel, Kanda bridges generations of jazz and experimental music to shape its forward-thinking sound.
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With Peace Orchestra, saxophonist Yuri Honing presents a new musical chapter where boundaries blur and sounds connect. This unique ensemble brings together a rich palette of influences, rooted in the spiritual jazz of the 1960s and ’70s, yet infused with modern electronics and an open, contemporary sound. Inspired by legends such as Pharoah Sanders (The Creator Has a Masterplan), Charles Lloyd, and Sun Ra, the album is a tribute to musical freedom. The Peace Orchestra defies stylistic labels — it is a breathing, evolving entity where tradition, innovation, and improvisation continuously embrace each other. Together, Yuri Honing – tenor saxophone, Remy van...
Show moreWith Peace Orchestra, saxophonist Yuri Honing presents a new musical chapter where boundaries blur and sounds connect. This unique ensemble brings together a rich palette of influences, rooted in the spiritual jazz of the 1960s and ’70s, yet infused with modern electronics and an open, contemporary sound.
Inspired by legends such as Pharoah Sanders (The Creator Has a Masterplan), Charles Lloyd, and Sun Ra, the album is a tribute to musical freedom. The Peace Orchestra defies stylistic labels — it is a breathing, evolving entity where tradition, innovation, and improvisation continuously embrace each other.
Together, Yuri Honing – tenor saxophone, Remy van Kesteren – harp & electronics, Ella Zirina – guitar, Tony Overwater – double bass & bass guitar, and Yoràn Vroom – drums, create a sonic universe that feels contemplative, powerful, and wide open. Live recordings such as For a Script, Kaïn & Abel, and a surprising reinterpretation of Imagine showcase their dynamic energy and collective freedom.
- An all-star lineup of top-tier musicians, spearheaded by internationally acclaimed saxophonist Yuri Honing, offering a fresh, boundary-pushing sound.
- Rooted in the freedom-driven jazz of the 1960s and ’70s (Pharoah Sanders, Charles Lloyd, Sun Ra), the album merges vintage spirit with contemporary electronic textures.
- Peace Orchestra transcends genres — a fluid, evolving musical experience where tradition, innovation, and improvisation intertwine seamlessly.
- 180 grams gatefold vinyl
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Jaggat is a band that builds virtuosic sound bridges between chamber jazz and musical traditions from around the globe. Spanish, Indian, Arabic, African, and Latin American influences merge into a powerful and cohesive sonic tapestry, transcending cultural boundaries. The name Jaggat—derived from Sanskrit for “world”—reflects the ensemble’s mission: uniting the rich sounds of diverse cultures into a captivating musical journey rooted in openness and respect for diversity. Their new album demonstrates how tolerance and cultural exchange can give rise to something truly new and beautiful—in music as in society. By weaving together global rhythms, melodies, and traditions, Jaggat creates a sound that...
Show moreJaggat is a band that builds virtuosic sound bridges between chamber jazz and musical traditions from around the globe. Spanish, Indian, Arabic, African, and Latin American influences merge into a powerful and cohesive sonic tapestry, transcending cultural boundaries.
The name Jaggat—derived from Sanskrit for “world”—reflects the ensemble’s mission: uniting the rich sounds of diverse cultures into a captivating musical journey rooted in openness and respect for diversity. Their new album demonstrates how tolerance and cultural exchange can give rise to something truly new and beautiful—in music as in society. By weaving together global rhythms, melodies, and traditions, Jaggat creates a sound that is unmistakably their own.
At the heart of this musical dialogue are original compositions by guitarist Markus Conrad and double bassist Caspar van Meel, seamlessly intertwined yet unmistakably marked by their individual voices. Percussionist Afra Mussawisade enriches the music with his unique instrumentation, laying down both a vibrant groove and a refined sonic foundation.
Whether performing as a trio or expanding into a quartet with guest violinist Christoph König, Jaggat unfolds a colorful and wide-ranging spectrum of sound. Their music reveals that diversity not only enriches but also inspires.
- 180 grams vinyl
- Jaggat blends classical music, jazz, world music, flamenco, and Indian music into a unique and vibrant whole
- The album celebrates tolerance and cross-cultural dialogue, showing how diverse traditions can unite into new artistic expressions
- The trio is joined by Christoph König on four tracks
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With this duo, Jeroen Van Herzeele (Ben Sluijs, Mâäk’s Spirit, Toots Thielemans, Chris Joris, Philip Catherine) and Stéphane Galland (Aka Moon, Ibrahim Maalouf, Tigran Hamasyan, Kurt Rosenwinkel, Malcolm Braff) are opening another chapter in their musical experimentation and improvisation.
Jeroen and Stéphane crossed paths many times during their storied musical careers. One of their mutual projects was called Greetings from Mercury, a fusion group that mixed jazz, acid jazz, rock and rap. With their new duo, they continue to blend genres and soundscapes.
Using different settings and combinations of saxophone, modular synths, EWI, drums and electronics, Jeroen and Stéphane experience live music...
With this duo, Jeroen Van Herzeele (Ben Sluijs, Mâäk’s Spirit, Toots Thielemans, Chris Joris, Philip Catherine) and Stéphane Galland (Aka Moon, Ibrahim Maalouf, Tigran Hamasyan, Kurt Rosenwinkel, Malcolm Braff) are opening another chapter in their musical experimentation and improvisation.
Jeroen and Stéphane crossed paths many times during their storied musical careers. One of their mutual projects was called Greetings from Mercury, a fusion group that mixed jazz, acid jazz, rock and rap. With their new duo, they continue to blend genres and soundscapes.
Using different settings and combinations of saxophone, modular synths, EWI, drums and electronics, Jeroen and Stéphane experience live music in an interactive context. The multiple horns, overdubs, drums and electronics are the platform for exhilarating dialogues about themes and metrics. The result is both heady and groovy, music that can be analyzed or danced to.
The duo has played live in several venues, including Sounds Jazz Club in Brussels and Ghent Jazz Festival. In 2025, they will play festivals such as Jazz à Liège and Jazz Middelheim in Antwerp.
Their debut album is titled ‘Songshan’, after one of China’s five sacred mountains, the centre of heaven and earth.
- Using different settings and combinations of saxophone, modular synths, EWI, drums and electronics, Jeroen and Stéphane experience live music in an interactive context
- Debut album for the duo Jeroen Van Herzeele and Stéphane Galland
- Available as cd and lp
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