The Danish singer, Randi Pontoppidan, has made 13 solo wordless songs, along with exquisite use of electronics, and I am seated as a feathered over Pontoppidan's amazing voice, which creeps into my soul and stays there throughout the whole record. A great record in the same landscape where we find Sidsel Endresen and Phil Minton.

This is one of the few albums which you should buy if you cannot afford to listen to it. You can compare neither apples with oranges nor Coltrane with Dolphy. This album set is from the incomparable jazz era of 1960's, and Dolphy was one of the many prophets whose prophecies we still hearken...

You might say that pianist/organist Alexander Hawkins (1981) is a phenomenon on the present European jazz scene what he indeed is. The last two years he was omnipresent playing not for nothing on a breathtakingly wide geographical radius as well as in an astonishing variety of musical partnerships and style domains. This second solo album of him (with excellent liner notes by Richard Williams) is an astonishing discursive affair. Hawkins elaborates a series of clear musical structures and constellations (iron) in a reflective as well as highly energetic way, with great dynamics and various moods (in the wind).  In Hawkin’s case the narrative is the music itself, its (process of) overwriting, expansion, collisions, coexistences and metamorphosis. The special synergy of abstractness and expressiveness, dynamics and moods in Hawkins’ music here makes it a listening experience of a kind. It’s an even strange as captivating sound walk that keeps the listener curious on what’s comes behind the next corner.

Frequently, the new trio achieves an almost telepathic interaction: the songs begin to contemplatively  to expand and eventually end up in a soulful sadness. Suggestive reflections which, with their ambient sound layers and dull towering rhythms, are a fine test of the successful collective process.

An international trio (Norway | UK | Sweden) produce soothing, subtle and understated  music in the vein of Bill Evans and Keith Jarrett.

Tomasz Stańko, who departed last year at age 76, was a towering presence on the Polish jazz scene and a huge inspiration to the next generation of players. Piotr Schmidt, also a trumpet player, recorded this tribute album as a form of acknowledgemt and farewell to the old master. His quartet includes Wojciech Niedziela on piano and a rhythm section that had performed with Stanko over the previous year as part of his Polish quartet (Maciej Garbowski - b, Krzysztof Gradziuk - dr). The album features original compositions with one exception – Krzysztof Komeda’s lullaby “Rosemary’s Baby”. The music is heart-wrenching, melancholic, full of sorrow and… beauty.