It’s easy to love A Window, Basically. After all, for people who prefer their music to disrupt and eviscerate structural boundaries, this album exemplifies several decisive aspects. The havoc-prone, omnivorous palettes of trumpeter Peter Evans and percussionist Mike Pride show that the hallowed corners of New York’s avant-jazz scene still run deep. And Relative Pitch Records proves that, over the years, it has built itself into a veritable bastion of experimentalism, repping some of the most amazing talent around.

The Convergence of Opposites (which is how the album title should be translated) perfectly describes its content. Indeed, two distinct artistic elements collide here: an improvising vocalist and a string quartet rooted in classical repertoire, built on composed works. On the album, they start from their own natural stylistic environments. However, the aim of this collision is not conflict, but a search for points where they can coexist. This pursuit of creative coexistence is realized through the exploration of new techniques and harmonies, and through seeking balance between different musical languages. Musically, it works wonderfully. But the meaning of the title can be interpreted much more broadly—for instance, by referencing Anna Gadt's previous albums and observing their unique reinterpretation in this new setting. All these elements come together seamlessly into a captivating, nuanced, and emotionally rich narrative, impossible to pull away from and one you’ll return to without hesitation.

Inger Hannisdal is one of Norway's most exciting violinists and composers. She has a degree in Middle Eastern and Mediterranean studies from Sciences Po in Paris, and Arabic music from Université Antonine in Lebanon. She released her debut album North South East West in 2022, where she combines Arabic and Norwegian folk music with jazz and contemporary music. On her new solo album, we get 10 great compositions, all of which are made by Hannisdal, with the exception of one, which contains a part that is associated with Omar Al-Batsh (1885-1950). The album is an excellent mix of Norwegian fiddle traditions and folk music from the Middle East, interspersed with a little creative contemporary music. Hannisdal has a unique ability for this particular combination. She is a brilliant violinist, whether she plays the regular fiddle or the Hardanger fiddle. And by "dubbing" herself in several layers, this becomes particularly original and beautiful.

After 25 years, Light is finally the new solo album from Danish trumpeter/composer Palle Mikkelborg. And it's turned out to be something really special. Except for two tracks, the pieces on the album were recorded entirely solo, with Mikkelborg playing not only trumpet and flugelhorn but also piano. It is, of course, no wonder that Mikkelborg withdrew from the live circuit a few years ago. Born in 1941, he was already well into his eighties, had been on stage for so many decades, and now wanted to record some new music in peace and quiet. A search with fellow countryman and celebrated guitarist Jakob Bro (with whom he collaborated on the Bro albums Returnings (from 2018 with Jon Christensen and Thomas Morgan) and Strands (from 2023 with Marilyn Mazur) through his boxes full of recorded cassettes and DATs yielded handfuls of music that he wanted to rework as solo pieces.

The best has finally come along with texture, fabric, strings, Americana and more. Scofield and Holland are together again for the first time.

Singer, improviser and composer Vera Morais first gained recognition in a duo with saxophonist Hristo Goleminov and has since developed several other projects, notably the trio Novelo Vago. Based in Amsterdam, the singer presents a new project built around an unusual formation — three voices and two flutes — exploring an atypical instrumental configuration and a curious musical approach focused on sonic exploration and experimentation. Joining Vera Morais (voice, composition and text) are Līva Dumpe (voice), Sarah van Eijk (voice), Teresa Costa (flute and piccolo), and Ketija Ringa-Karahona (flute).

Iain Ballamy's band is made up of younger stars:  Rob Luft -guitar, Conor Chaplin – bass, Corrie Dick – drums,  Laura Jurd - trumpets and his son Charlie Ballamy, trumpets. He describes the album  as " five improvisations created to sound as if composed... and five compositions created to sound as if they were improvised.” With Quercus, Iain Ballamy has been involved in folk-jazz for a long time. He takes it further, brilliantly.  John Fordham made it his Guardian album of the month.

The bassmaestro Ron Carter teams up with  the gospel/choirleader Ricky Dillard and present a unique hybrid album with a tribute to Carter's late mother, Sweet, Sweet Spirit is a collection of her favorite hymns that fuse the powerful history of Gospel music with the skilled notes and crafted bass lines in Jazz.

Nothing flashy here – but lots of sincere passion. Trumpeter Kasper Tranberg has had more than three decades to develop his voice as a professional musician. His tone is warm and soothing. A player with a great heart, who finds inspiration through a variety of music ranging from tin pan alley songs, to 1960s avantgarde, to Danish pop icons and more. And that also goes for his companions on this release: Nils Davidsen (b / cel) and Frands Rifbjerg (d). All three have a passion for the exploratory and unpredictable with emphasis on a melancholic, serene, and healing approach. And they know each other well from many previous constellations – thus the trio breathes as one, and they are excellent examples of the saying that sometimes less is more. Nobody’s Heart is personal, thoughtful and intricate.

Cellist Vincent Courtois has a fondness for keyboards and aesthetics where Western written music blends with improvisation. This is precisely the area in which he and Colin Vallon find common ground, as demonstrated by 'Floricel', in which the piano ventures into the depths with a hint of Ligeti while the cello paces before becoming more lyrical. The rapport is immediate. From the very first moments, the cinematic quality of this duo is unmistakable. A Simple Fall tells stories and seeks out emotion. It can be contrasting, even stormy, as on the intense 'Bariolages', where the piano trembles with all its strings and is imbued with a certain drama. In contrast, it is very nonchalant on the beautiful 'Done and Done', where the piano and cello play in unison, seeking out a few watercolour shades on a minimalist canvas. Conceived by Vincent Courtois in the pain of loss, as the title 'A Simple Fall' alludes to the death of his mother, this album embodies resilience, diffusing between gentleness and gravity. This is exemplified by "...Descent", which showcases the cellist's mastery of pizzicato. Recorded for the BMC label, the duo also offers a track in honour of the valiant Hungarian label. 'BMC' is initially rendered complex by the prepared piano, but Courtois's bow suddenly makes it crystal clear, maintaining the lightness that is so characteristic of the Danube region. 'A Simple Fall' is an album that stays with you for a long time because it is full of twists and surprises. Abstraction does not reign supreme, but it is instilled throughout, giving free rein to nuance — a rare commodity these days — which illuminates 'A Simple Fall', the title track, with such a beautiful light that it never fades. (Franpi Barriaux)

An album that proves once again that unity exists precisely because of diversity, at all levels. (Georges Tonla Briquet)

Heleen Andriessen's subtle touch is counterbalanced by bassist Kobe Boon and drummer Stijn Demuynck with a tight and completely free interpretation, groovy and even with a touch of prog rock. The charged closing track “sussen” perfectly rounds off Volpe's intrinsic sound. Following their untitled debut album in 2019, Volpe confirms its talent with “elders”, in which Volpe's intrinsic sound and authenticity come into their own. (Bernard Lefèvre)

Saxophonist Toms Rudzinskis is a solid asset in Latvian jazz. At the very end of 2024, Jersika Records released his album Interception, in which Rudzinskis embarked on a new quest for him – a combination of bop-style jazz with a string quartet. It is a return to more traditional jazz, as Toms had been fascinated by experimental big band and fusion music in recent years, but it justifies. The album features foreign friends – the great Japanese pianist Alex Koo and Italian double bassist Igor Spallati, plus, of course, Toms long-time friend, Latvian drummer Ivars Arutyunyan. The jazz chemistry is fully felt here and intercepts ones mind.

The New Global Ensemble is a project of rare distinction. Not only because it brings together musicians from different continents, but because they succeed in developing a shared musical language from their respective cultural roots – sustained by attentive listening, mutual respect, and a palpable sense of empathy. “Dream Walking” is far more than a conventional “world music” production. The music unfolds in wide arcs: from regional African traditions through contemporary improvisation and jazz to electronic sound textures and experimental forms. Saxophone, strings, gyil, mbira, voices, and live electronics interlock organically. Each of the participating musicians appears as a master of their instrument – yet the focus is not on the individual, but on the collective. There is no dominant leader; instead, the music is shaped by an egalitarian, shared interaction. The pieces evolve like individual chapters of a multilayered narrative. Each track opens up a new sonic space, a different atmosphere, its own rhythmic pulse. At times ritualistic and archaic, at others meditative, then again energetic and freely improvised. This diversity never feels arbitrary; rather, it forms a coherent whole that captivates from beginning to end. “Dream Walking” is an album for open ears and curious minds – for those who understand music not as a genre, but as a living dialogue between cultures. A multifaceted, intelligent, and deeply moving work that resonates long after the final notes have faded. We are truly impressed.