Vagabond

Magnus Öström - e.s.t. 30CD / Vinyl / digital Magnus Öström drums Dan Berglund double bass Magnus Lindgren tenor saxophone, flute Joel Lyssarides piano Verneri Pohjola trumpet Ulf Wakenius electric guitar Love remains... In 1993, three musicians from Sweden, Esbjörn Svensson, Dan Berglund and Magnus Öström formed the band e.s.t.. Svensson and Öström had known each other ever since their first steps into music as children. Neither of them could have anticipated that e.s.t. would become the most influential band in European jazz of the noughties. And when the band formed they probably didn't think they were particularly ‘jazz’ either; all they wanted to do was to play the music which united their passions: rock, pop, classical, folk, improvisation. In the following 15 years, e.s.t. would play thousands of concerts worldwide, release ten studio albums and several live recordings, win awards, gold discs. We all know how the story ends. Or did it really end? And will it ever end? To mark the 30th anniversary of e.s.t., Magnus Öström and Dan Berglund combined forces with close musical friends Joel Lyssarides, Magnus Lindgren, Verneri Pohjola and Ulf Wakenius to give two major concerts, one at the Kölner Philharmonie and other at the Filadelfia church in Stockholm. They played a selection of quintessential pieces from the timeless e.s.t. repertoire, but in a way that has never been heard before. The six musicians, each one a solo artist of international renown, treat the original melodic and rhythmic contours of these tunes with tenderness and affection. The iconic melodies and rhythms are all there, but we also hear how they are opened up again and again, as the musicians immerse them in unexpected warmth and light. These players react to each other in fascinating ways, and there is also a definite tingle in the air as the audience listens to the music in pin-drop silence, then bursts into uninhibited applause atthe end. Magnus Öström reflects on how it feels to play this music today: “The emotions we experience have many layers, the depth of a lifetime. Firstly, it feels like coming home. There is sadness, gratitude, and happiness. And it seems unreal or even surreal and ever so natural at the same time. And you can't stop marvelling at how great this music is. Esbjörn’s compositions and the arrangements that we did together as a trio back then, feel timeless.” And he concludes: “In the end, what remains above all is the conviction that this music should be played and not lying around in a drawer.”“e.s.t. 30” zooms in from the widest of panoramas to the intimacy of the close-up. And from the total silence and weightlessness of space in the opener "From Gagarin's Point Of View" to the heartfelt sincerity of the final track "Believe, Beleft, Below", or as it is called in the later version with vocals: "Love is Real". “If we meet again, I'd tell you how I feel, I'd tell you from the start, I'd tell you love is real.” Love remains.

Various Artists - Fahrt ins Blaue III - dreamin in the spirit of jazzCD / digital Esbjörn Svensson E.S.T. Symphony Youn Sun Nah, Ulf Wakenius & Lars Danielsson Wolfgang Haffner Quartet feat. Dusko Goykovich Nils Landgren Quartet Paolo Fresu, Richard Galliano &Jan Lundgren Julian & Roman Wasserfuhr, Tim Lefebvre & Nate Wood Viktoria Tolstoy Cæcilie Norby & Lars Danielsson Matthieu Saglio &Vincent Peirani Ulf Wakenius Norah Jones, Joel Harrison & David Binney Jan Lundgren Quartet Michael Wollny & Vincent Peirani Natalia Mateo Jens Thomas & Christof Lauer Daydreams and soothing stories...in the Spirit of Jazz "There's a place for us, somewhere a place for us. Peace and quiet and open air wait for us. Somewhere…". These words from the classic song from Leonard Bernstein's “West Side Story” set the tone for "Fahrt ins Blaue III - dreamin' in the Spirit of Jazz": this is uplifting music, to take the mind and the soul to a place of safety. The kind of quiet interlude in a day which is always restorative. Switch off and then switch back on – better focused. We find calm, intimacy, thoughtfulness here; the sixteen tracks in this compilation have a sense of flow, while also allowing the listener to wander off into all kinds of musical dream worlds....From the very first spacious piano tones of Esbjörn Svensson’s "Ajar", one feels time standing blissfully still. This little gem, and the "e.s.t. Prelude" which follows it, is our entry point into the dreamy universe which will open itself up to us over the next 67 minutes. Youn Sun Nah's bittersweet "Lento", based on the music of Russian composer Alexander Scriabin, gently emerges, seamlessly followed by Dusko Goykovich’s wonderfully warm and sad muted trumpet as he contemplates the falling of "Autumn Leaves" with Wolfgang Haffner's "Kind of Cool" ensemble. Then we hear singer/trombonist Nils Landgren, gentle almost to the point of weightlessness in "Somewhere". There is poetry and the originality in Paolo Fresu, Richard Galliano and Jan Lundg-ren’s Mare Nostrum Trio: we hear Swedish pianist Lundg-ren’s earwormish ballad “Aurore”. Lundgren also appears with his own quartet, with some hushed lyrical magic from Finnish saxophonist Jukka Perko in "No.9". On "Fahrt ins Blaue III", Michael Wollny and Vincent Peirani show their astonishing kinship of spirit and their serendipitous ability to move together in their duetting on "The Kiss". Accordionist Peirani is also to be heard with Ricardo Esteve’s heart-rendingly lovely flamenco guitar and cellist Matthieu Saglio on the poignantly sad but uplifting and warmly Mediterranean "Bolero triste". We then hear the Wasserfuhr brothers transport us to New York's Brooklyn Bridge with a sweeping view of the shimmering Manhattan skyline at dusk with their relaxed grooving jazz ballad "Carlo". For peace and inspiration, there’s a man and his guitar: Ulf Wakenius plays Keith Jarrett's "My Song". That is followed by the duo of Caecilie Norby and Lars Danielsson enchanting us with an intimate version of Leonard Cohen's “Hallelujah”. Two more singers take us to the world of cinema: Natalia Mateo sings Wojciech Młynarski's gorgeous lyrics to Krzysztof Komeda’s “Lullaby” from "Rosemary's Baby", starting in her native Polish, and drifting into utterly beautiful wordlessness; and Viktoria Tolstoy offers that most pensive and gentle of breakup songs, "Why Should I Care". from the Clint Eastwood film "True Crime", with some stupendous guitar work from Krister Jonsson. And then there is an appearance by inimitable Norah Jones alongside guitarist Joel Harrison and saxophonist David Binney. She recorded a languid version of the country song "Tennessee Waltz" on ACT, on the album "Free Country", from the same era as her 27 million-seller "Come Away With Me". Pianist Jens Thomas and saxophonist Christof Lauer give us the quiet poise of “Green Dance”. This epilogue sums up the aesthetic of "Fahrt ins Blaue III": dreamlike music of beauty, tranquillity and calm – that it is well worth spending some time with. Credits:Mastered by Klaus Scheuermann

Ulf Wakenius - Taste of HoneyCD / Vinyl / digital Ulf Wakenius guitars Lars Danielsson bass & cello Magnus Öström drums Another Beatles album?! When Swedish guitarist Ulf Wakenius initially proposed the idea of recording a homage to Paul McCartney, Siggi Loch was highly sceptical. After all, it is not as if there is a shortage of versions of The Beatles' ageless tunes. However, it soon not only became clear that Wakenius was really fired up for this project, but also that he had assembled the dream team to do it: Lars Danielsson and Magnus Öström were already on board, and that above all was what succeeded in winning Siggi Loch over. He was nonetheless keen for the choice of tracks to reflect some lesserknown aspects of McCartney, a thought which took him straight back into his own memories: he had witnessed the very early stages of The Beatles’ existence at close quarters. In 1962 he had been to several of their performances at the Star Club in Hamburg, the venue which launched the group internationally. The high point of their Hamburg gigs would invariably be McCartney singing "A Taste of Honey", a Broadway song by Bobby Scott. This number, Loch felt, could not be left out of a tribute to Paul McCartney; it eventually became the album’s title track. Another priority was to include lesser-known songs from the "Wings" period. In the end, the careful selection process has resulted in twelve tracks which traverse a broad spectrum of McCartney's work, both chronologically and stylistically. Each of the three musicans has his own strong stylistic identity, and they have combined their individual talents to construct a new and unique monument to their idol. What Ulf Wakenius brings is the sum total of a vast and varied experience in music. It began with an early passion for rock, then continued with mainstream jazz in collaboration with bassist Nils-Henning Ǿrsted Pedersen and through ten years as a member of Oscar Peter-son’s Quartet, and then as the accompanist for outstanding pop-jazz singers such as Youn Sun Nah, plus projects of his own in which he has redefined the musical and expressive possibilities the guitar. Through his homages to Keith Jarrett and Esbjörn Svensson, Wakenius has also already proved not only that he has a very special sense of empathy, but also a capacity to shape things creatively. Nils-Henning Ǿrsted Pedersen provides the common link between Wakenius and Lars Danielsson, two of Europe's leading jazz musicians who have often worked together. Like Wakenius, Danielsson has constantly expanded his creative and expressive range in the course of his 40-year career, whether working with a whole host of pre-eminent artists such as Trilok Gurtu and Charles Lloyd, or working with his own all-star quar-tet, or in his joint projects with Polish pianist Leszek Moźdźer or Danish vocalist Cæcilie Norby. In recent years Magnus Öström has established beyond doubt that he will not be known for eternity just as having been the drummer of one of the great bands of our time, e.s.t. He has, for example, shown that he can open up new avenues into prog rock, he can thrive in completely unconventional bands like Gentle Giant, and be successful with his own projects, not least because of his mastery with the brushes and a highly individual and instinctive genius for incorporating silence into his playing. The album "A Taste of Honey" has many fine examples not just of how wide the range of interpretations of well-known songs can be, but also how deeply these musicians have assimilated the essence of the original recordings. In "Maybe I’m Amazed", the particularly springy groove that Öström contributes is well worth listening out for. This version is a real tour de force. In "Blackbird", one of the Beatles' most catchy melodies, Wakenius' "singing" guitar outshines many a vocal version, and some fine work from the rhythm players teases out a sense of swing from the piece that is both unexpected and unprecedented. In "My Funny Valentine", the three conspire to edit out the word "funny"; instead they give it a yearning depth – and listen out for a particularly emotive bass solo from Danielsson. "You Never Give Me Money" has been wonderfully pared-down and is transformed into a melancholic ballad, while "Besame Mucho" seems to set up the contrast between heart-rending romanticism in the melody and plucked guitar licks with a deep thrum coming from the bass. Paul McCartney used to bring the Beatles' appearances at the Cavern Club to a close with this classic latin tune by Consuelo Velasquez; that was something Loch saw when he went to Liverpool him-self and actually heard them there, back in the day. So, for him, this piece was an indispensable part of the McCartney homage. In the final furioso, Wakenius transforms "Eleanor Rigby", perhaps the Beatles tune most often played by jazz musicians, into a fast and furious adventure in the style of his own popular tune "Momento Magico". Whether as a member of the Beatles or with Wings, Paul McCartney once made the songs of his predecessors very much his own. Now, in the same way, Wakenius, Danielsson and Öström have taken songs from his astonishing canon and brought them into their own musical universe. So all that remains now is for listeners to bring their own thoughts, feelings and memories, and thereby give this wonderful Swedish homage to the Sir Paul McCartney a life of its own. Forever.Credits: Produced by Siggi Loch Recorded by Lars Nilsson at Nilento Studio, Gothenburg, September 12 & 13, 2019 Assistant engineer: Michael Dahlvid Mixed and mastered by Lars Nilsson Cover art by Jerry Zeniuk

Various Artists - Magic Moments 13CD / digitalBest Jazzinfotainment: 16 tracks, 75 minutes of music in the Spirit of Jazz, including Nils Landgren & Jan Lundgren, Wolfgang Haffner,Ulf Wakenius, Solveig Slettahjell, Grégoire Maret, Vincent Peirani & Emile Parisien, Kadri Voorand, Viktoria Tolstoy, Jazzrausch Bigband.Credits: Compilation by Siggi Loch Mastered by Klaus Scheuermann

Wolfgang Haffner - Kind of TangoCD / Vinyl / digital Wolfgang Haffner drums Lars Danielsson bass & cello Christopher Dell vibraphone Simon Oslender piano Vincent Peirani accordion Ulf Wakenius guitar Alma Naidu vocals Sebastian Studnitzky trumpet Bill Evans saxophone (07 & 09) Lars Nilsson flugelhorn (03) “This isn’t about reproducing an original, it’s much more like a translation. When I absorb and adapt influences and when I write, I follow my own path – and that allows me to be myself. It’s a process from which something new and contemporary can emerge.” This is how Wolfgang Haffner describes the artistic approach in his “Kind of...” album trilogy, all of which have the unmistakable Haffner sound running right through them. After a first adventure in cool jazz, and then a search for musical traditions in Spain, his new destination is Buenos Aires: “From the moment Siggi Loch suggested tango as my third point of departure, I didn’t need any more convincing. Rhythm is the essence of tango, plus catchy melodies which can then be developed – and there’s so much emotion in it too.” “Kind of Tango” is indeed a kaleidoscope of shifting emotions. Haffner’s conception of tango has drama and propulsion in it, but also melancholy and longing, with room for frenetic outbursts too. All this is unified by his inimitable groove and feel that commentators have called “an absolute dream”, “magical” and “profoundly relaxed”. Alongside trusted co-protagonists Christopher Dell and Lars Danielsson, he has two guests with him who defy all the clichés associated with tango: guitarist Ulf Wakenius cut his teeth musically in Oscar Peterson’s band, and his Swedish heritage always shines through in his playing. Vincent Peirani is one of the leading innovators on the accordion, and he finds new ways to define the instrument’s role in the tango. Young pianist Simon Oslender is making a first appearance with the band. Jazz and tango find a natural yet constantly shifting equilibrium – to be heard particularly effectively on “Close Your Eyes And Listen” by Astor Piazzolla. In addition to compositions by Haffner himself and by his band members, pieces by the celebrated Argentinian bandoneon player and composer are the focal point of the album. Piazzolla’s innovations with the tango, such as bringing jazz into it, date from around 1955. Haffner and the tango seem perfectly matched to each other. Tango is no longer a fixed style nowadays, it is above all an attitude to playing and an attitude to life. Wolfgang Haffner’s approach to tango is both authentic and new. It is his and his alone. And it is irresistible.Credits: Cover art (detail) by Gert & Uwe Tobias

Iiro Rantala - Good StuffCD / Vinyl / digital iiro rantala piano ulf wakenius guitarVienna, Rome, Seoul... Iiro Rantala and Ulf Wakenius are musicians who travel the world, always on tour as leaders of their own projects. So it was something of a fluke that this duo was able to come into existence at all. The idea first emerged in October 2015, when Rantala and Wakenius stopped off at the Philharmonie in Berlin. Siggi Loch, curator of the “Jazz at Berlin Philharmonic” concert series, had brought them together on stage for the “Tears for Esbjörn” concert. “We were part of a larger ensemble on that occasion”, Rantala remembers, “but it was clear to both of us straight away that we would want to form a duo.” This has to be seen as a very smart move, given the rarity of the piano-guitar duo in jazz – a fine exception being that of Brad Mehldau with Pat Metheny. Thereafter, whenever gaps could be found in both of their crammed diaries, they would meet to do concerts together. “Each of us would bring some pieces to play”, says Wakenius, “but because we always had so little time in the run-up, we were more or less rehearsing live on stage.” It is precisely this way of approaching the music – with spontaneity, inquisitiveness and a complete lack of preconceived ideas – that gives the duo its fabulous energy. It is worth noting that almost all of the tracks on this album are first takes. After a much-acclaimed concert at Jazz Baltica in summer 2016, it was evident that this music needed to be recorded. Siggi Loch invited the pair to his gallery in Berlin, where the now famous Alfred Brendel Steinway “D” was awaiting Rantala’s arrival. Each track of the album captures the mood of a different city. These are places which the musicians visit regularly, where they often play, and to which they feel a special connection: “Vienna” sounds as if Mozart could have written it – if he were a jazz musician living now. “Seoul” combines traditional Korean music with the 21st century urban metropolis. “Helsinki”, says Rantala of his home town, “is a relaxed, groovy place.” That’s also where the Finnish artist Jiri Geller is living, who has done the CD artwork. He is just as much at home as the musicians themselves when it comes to reconciling the contradictions between seriousness or concentration and playfulness, flippancy – or just going for an effect. Puccini's aria “Nessun Dorma” references Milan as an important centre of Italian opera, whereas Georges Bizet’s “Carmen” takes place in Seville, and the Don José -Micaëla duet from it has been arranged by Rantala as gently swaying jazz ballad, in which both piano and guitar sing from the heart. “Berlin”, as portrayed by Ulf Wakenius, is in a state of flux. The city that never sleeps is propelled here by an unrelenting pulse from the guitar; the melody over it is catchy yet elusive. In John Coltrane’s “Giant Steps” both instrumentalists show their dazzling virtuosity. “What A Wonderful World” that was made famous by Louis Armstrong is a summarization of this musical tour of cities: “Every place is lifted by its music and is therefore unique. We've hunted down these specific sounds.” Rantala and Wakenius always play Stevie Wonder’s “Sir Duke” as the encore at their concerts, and audiences love it. That track was a must for the album, as was “Love The Stuff/Ain‘t No Mountain High Enough” from Stuff, the 70's and 80's jazz-funk band with Richard Tee, Cornell Dupree and Steve Gadd, a group which both men revere. That legendary band also inspired the choice of album title: “Good Stuff”. “The tracks bring together influences and composers that have left their mark on us,” says Wakenius. He and Rantala have indeed brought together great things, but what they go on to make of these materials and inspirations: that’s the real good stuff. Credits: Produced by Siggi Loch Recorded by Nanni Johansson at the ACT Art Collection Berlin, May 30 & 31, 2017 Mixed and mastered by Klaus Scheuermann Iiro Rantala played on the “Alfred Brendel” Steinway D-524780, tuned by Thomas Hübsch

Various Artists - Magig Moments 10 "In The Spirit of Jazz"CD / digitalThe anniversary sampler Magic Moments 10 gives an insight into the current album releases from the ACT catalogue. 14 tracks, over 1 hour of the best jazz infotainment "in the spirit of jazz".Credits: Compilation by Siggi Loch Mastered by Klaus Scheuermann

Various Artists - The Jubilee ConcertsCD / digital Various Artists “We fly like birds of a feather,” runs the Sister Sledge lyric. And so the musicians did – thirty-four of them flocked to the Konzerthaus in Berlin, from several countries of Europe, each of them an artist who has found a nurturing home for his or her projects and talents on the ACT label. It was their way of expressing gratitude, and of giving their label a 25th birthday present. The musicians appeared on stage in a whole variety of combinations throughout the day, some of the bands formed for these concerts having never been put together before. It was in every sense a special occasion: a day of very fine concerts, a joyous celebration of the passing of an important milestone - the date marked exactly twenty-five years and one day since the ACT label put out its very first release in 1992 - and a happy gathering for the label-as-family. What this unique event brought to the fore was that precious common spirit and attitude among these musicians: an openness and respect for the individual and very different talents of the others, the courage to take risks, and an ever-present willingness to welcome in the unexpected and to discover the new. The musicians are also from several different generations, all bringing their combined energies to the event. For example, saxophonist Emile Parisien and pianist Joachim Kühn were born nearly forty years apart, and yet their mutual understanding, their common way of making music and generating excitement makes a detail like that an irrelevance. There were two other trans-national duos on the album. Whereas saxophonist Parisien and Kühn brought high-voltage excitement, and received a loud ovation, the two double basses of Lars Danielsson and Dieter Ilg channelled very different emotions. Two bassists playing together tends to be a recipe for pure joy, good humour, bonhomie and mischief, and that was exactly what these two master musicians offered. The third duo of Nils Landgren and Michael Wollny brought warmth, affection, and wistful poetry and beauty to Sondheim’s “Send in the Clowns,” which opens the album. These three intimate conversations were just part of the story of an unforgettable day. A quartet feature was led by violinist Adam Bałdych, whose ski-ing accident just a few days before had not deterred him from attending this joyous gathering - he was supported by crutches to get on and off the stage. Then there was a special one-off formation of Nils Landgren’s Funk Unit in “Walk Tall”, the band propelled by Wolfgang Haffner’s crisp, in-the-pocket drumming. One of the features of the ACT label is that founder Siggi Loch is a natural connector and helps the formation of new bands. A quintet around Nguyên Lê and the quartet led by Adam Bałdych were created especially for the evening. Lars Danielsson’s “Suffering” has as its first soloists two ACT cornerstone artists who have helped to define the many-sided identity of the label: Nguyên Lê and Nils Landgren. Another more established quartet which ACT has helped into existence is the supergroup of Andreas Schaerer, Emile Parisien, Vincent Peirani, and Michael Wollny. “B&H” shows these four stars of European jazz, all of a similar age, keeping each other and the audience on their toes. A celebration like this could run the risk of drifting into memory and nostalgia – this one didn’t. ACT has issued over 500 albums, so there is much to look back on with pride…but one moment found an inspired way to look to the future as well. The listener might wonder who the drummer and guitarist are, playing with such ease, flow and total assurance on “Dodge The Dodo.” They are Noa and Ruben Svensson, sons of the much-missed Esbjörn. The culmination of the day of celebration in Berlin was a Gala Concert by the “ACT Family Band.” The evening built naturally to a whole-band, whole-family finale in which the combined ensemble, led by Ida Sand, launched into “We Are Family”. As an expression of togetherness, of a shared joyful ethos it would be hard to beat. These Jubilee Concerts made it possible to experience at close quarters what ACT exists to achieve: it is a leading label where listeners can discover newly created music “in the Sprit of jazz.” The label’s range and its previously unimagined connections are a constant source of surprise from which it draws ever-new inspiration to connect the unexpected. Mike Flynn, Editor of Jazzwise wrote in his review of the concert that the ACT label has “a smile on its face and a swagger in its step”. And where might the best evidence for that statement be found? It’s all there on this album.Credits: Live at Konzerthaus Berlin, April 2, 2017 Recorded, mixed and mastered by Klaus Scheuermann Curated by Siggi Loch An ACT Music concert production in cooperation with Konzerthaus Berlin

Ulf Wakenius - Father And SonCD / digitalUlf Wakenius acoustic guitar Eric Wakenius acoustic guitar & vocalsOne Father, One Son, Two Guitars “He plays the guitar like he was born with it already in his hands” was how John McLaughlin once praised Ulf Wakenius. What is true for the father might be even more true for Ulf’s guitarist son Eric, who probably was quite literally born with one…. “Eric really is a blessing”, says Ulf Wakenius. “We have shared many concerts all over the world and it has always been a pure joy!” So the time is clearly right to document this family saga: “Father And Son” is a virtuoso conversation in the art of contemporary jazz guitar. This duo can launch into swing mode, or strut out towards rock, they are capable of being both lyrical and percussively extrovert, they can dream ballads or go at breakneck speed. And whether they are telling tales of exotic lands or contemplating their native Sweden, the pair — with their instinct for atmosphere, their sensitivity to acoustics and balance — make soul-stirring, affecting and compelling music, in which the listener can detect the closeness of their connection to each other. The musical backgrounds of father and son are very different. Ulf Wakenius had ten years as a member of the Oscar Peterson Quartet and also worked with the two legends of the bass, Ray Brown and Niels-Henning Ørsted Pedersen. He is known for his collaborations with great jazz figures such as Pat Metheny, Michael Brecker and Michel Legrand, and of course for his work with the singer Youn Sun Nah. He is not just one of the most busy and in-demand players, but also the most creative jazz guitarists of our era. His son Eric, by contrast was born in 1988 and surrounded as a teenager by the rock and pop music of the nineties. After that, he spent a lot of time in Los Angeles, where he picked up many different stylistic directions from that city’s musical melting pot. “He has played a lot of electric guitar”, explains Wakenius, “but — like me — he has fallen in love with the acoustic guitar and its many possibilities.” The two guitarists take the opportunity on “Father And Son” to explore and to exploit these multiple possibilities to the full: “Irish Vagabond” combines full-on Irish folk music with Arabic elements. “Mistral” is rhythmically punchy, almost like a rock tune, and also has echoes of Al Di Meola. In this tune Ulf Wakenius recounts an experience he had while on tour with Youn Sun Nah. At the Avignon Festival, a powerful wind from the South “almost blew me off the stage, so I decided to write a song about it.” Their “Eleanor Rigby” is captivating; as they honour the Beatles, they achieve a sonority remarkably close to a string quartet. “Paco’s Delight” pays tribute to the unforgettable Paco de Lucía, but their Spanish flamenco technique is also imbued with the buoyancy and verve of Django Reinhardt’s Hot Club swing. With their arrangement of the jazz-fusion classic “Birdland”, Ulf and Eric Wakenius remember another of the pantheon of musical immortals, Joe Zawinul. And finally, Eric Wakenius takes the listener by surprise as a highly persuasive singer in the album's title track by Cat Stevens, which deals with a tricky father-son relationship. “Eric and I are luckier - we don't have those problems,” says Ulf Wakenius. The song also justifies its place in the selection because Cat Stevens has a Swedish mother and a close connection to Sweden. Since this album is a family matter, it feels natural for both men to show their affection for their native country. They do that in a respectful, Nordic and melancholy way in “Meine schöne Heimat / Vem kan segla förutan vind”, but they also remember the most significant Swedish jazz musician of recent times, Esbjörn Svensson who died so tragically early. Ulf Wakenius was the first musician to do a tribute album (“Love is Real”) in 2008, while the pianistic genius Svensson was still alive. That was an album full of surprise; the ways Wakenius found to bring the e.s.t. compositions so convincingly into the sphere of the guitar were astonishing. The medley of “Dodge The Dodo” and “When God Created The Coffee Break” which Eric and Ulf play as a duet here is stupendous. And it all sounds far easier than it is. As Wakenius has remarked: “to master an acoustic guitar is really to tame a beast, but if you succeed, the rewards are tremendous!” In “Father And Son”, the listener can now also reap those remarkably rich rewards.Credits:Produced by Ulf Wakenius Recorded by Lars Nilsson at Nilento Studios, Kållered (Gothenburg), September 3, 2016 Mixed and mastered by Lars Nilsson Cover art by Daniel Richter, Living the dream (detail), 2010, with the kind permission of the artist

VArious Artists - Twenty Five Magic Years - The Jubilee AlbumCD / Vinyl / digitalIt is now 25 years since Siggi Loch properly set about being “useful rather than important” (the phrase is from his autobiography) and to move on from a successful and distinguished career in the international record industry to found his own independent jazz label, ACT. What he had in mind from the start was that it should be a platform to promote the kind of musicians who are capable of touching the emotions of their audience, of creating excitement and winning people over, artists who tend to court danger by avoiding the well-trodden paths – in other words they make their music “in the spirit of jazz.” Now, a quarter of a century and over 500 albums later, it is definitely a case of having delivered on that promise. As a “discovery label”, ACT has written part of the continuing story of jazz, and its family of musicians are now leading figures in the genre. ACT is proud to mark this milestone with a “Jubilee Album”. However, the label has taken care to steer well clear of the predictable. Except three tracks everything on the album is being released for the first time. Furthermore some tracks were in fact especially recorded at sessions involving a gradually permutating all-star line-up at the Hansa studios in Berlin. The result is a newly crafted summation of the kind of music for which ACT exists: music that can touch the heart, stir the soul and lift the spirit of the listener. It is a kaleidoscope of magical musical moments by artists with an openness of mind to all genres and styles. The opening track is the Beatles’ “Come Together”, interpreted by Nils Landgren, Ulf Wakenius and Lars Danielsson. This placing is deliberate. First it is a particularly fine example of the ACT motto of “connecting the unexpected,” following the long-standing jazz tradition of taking material from other musical areas and repossessing and transfiguring it through improvising. Great musicians reveal all kinds of unimagined things in seemingly well-known music. This stellar trio is also representative of another distinctive achievement by ACT, namely that the label is out in front as the leading exporter of Swedish jazz to the rest of the world. Landgren has been an exclusive ACT label artist since 1995 and has become the label’s most successful artist. Here on the “Jubilee Album” he also shows his funky side in “Walk Tall”. In “Paco’s Delight”, Ulf Wakenius pays homage in a duo with his son Eric to flamenco icon Paco de Lucía. The Swedish connection has been particularly fruitful for ACT. It was through her one-time accompanist Esbjörn Svensson that vocalist Viktoria Tolstoy joined the label, and the “Jubilee Album” features her singing his irreplaceable and bittersweet composition “Monologue”. The album’s closer is Svensson’s “Prelude in D Minor” and that placing has been done on purpose too. Svensson was the most important innovator in European jazz right up to the time of his tragic and fatal accident in 2008, and this solo piano piece was the only completed track from a solo album which was planned but sadly never completed. “Dodge The Dodo” reminds us of the massive charisma of the Swedish genius. Svensson’s classic tune is brought to us emphatically yet subtly by a quartet consisting of Polish violinist Adam Bałdych, Finnish Pianist Iiro Rantala and flautist Magnus Lindgren. Alongside Svensson, Bałdych and Rantala, the Norwegian saxophonist Marius Neset with “Prag Ballet“ is another example for the “Sound of Europe” which the ACT label has welcomed into its fold since the start. This commitment has been followed through with continuing and growing success, as can be vividly heard in “B&H”, a track from a live album recently recorded by the brand new combination of French stars Vincent Peirani and Emile Parisien with Swiss vocal phenomenon Andreas Schaerer and pianist Michael Wollny, who “breaks new ground for his instrument.” (The Observer, UK) Wollny is a once-in-a-lifetime talent. He is also rare among German jazz musicians in that he has successfully carved out an international profile. He is heard on this album as part of two more units: “Swing, Swing, Swing” is an explosive performance in a duo with Germany’s foremost drummer Wolfgang Haffner. This track demonstrates another important tenet for ACT: that home-grown German talent should never be overlooked. Wollny also plays “White Moon” in a duo with Iiro Rantala recorded live at the Philharmonie in Berlin, and this reflects the mission of ACT to present exceptional and pre-eminent jazz pianists to the widest possible audience. Finally, this birthday party could hardly be complete without the “great artistry of a genuine vocal marvel” (Vogue): we hear Youn Sun Nah’s “Bitter Ballad”. The “Jubilee Album” is a retrospective, a panoramic view and a peek into the future all rolled into one. As these exceptional artists perform unforgettable compositions, it becomes clear what ACT has been, what it is, and what it intends to remain: a reliable compass for new and exciting music “in the spirit of jazz.”Credits: Curated by Siggi Loch Mastered by Klaus Scheuermann Cover art by Jiri Geller, SMILE!, 2016 @ ACT Art Collection  

Various Artists - Magic Moments 9 "In The Spirit of Jazz"CD / digitalPresenting the 9th edition of ACT's popular Magic Moments series. This CD presents sixty-five minutes of the best of current jazz. Thoughtful moments sit alongside pure joy and entertainment. Coruscating energy is there, but serene contemplation too. With established ACT stars and promising newcomers, this is music for open ears, for the mind and soul. And for everyone who loves good music. “Jazz is the freedom to play anything.” At ACT, we let those words of Duke Ellington resonate through everything we do. Our releases do not adhere to a single musical canon or to a fixed sound aesthetic. Our motto is: “in the spirit of jazz.” Jazz is at the centre of our vision, because we delight in its openness to so many strands and inspirations: classical music, music from other traditions, and pop and rock. Magic Moments 9 opens with a homage straight from the heart to a person we all miss in the ACT family; the first track is a symphonic interpretation of the e.s.t. piece “From Gagarin’s Point Of View,” remembering pianist Esbjörn Svensson. “ACT seems to be on a mission to introduce the world to Europe's rising new jazz-classical pianists”, wrote John Fordham in The Guardian a couple of years ago. We have continued further along that path and Magic Moments 9 offers vivid reports from some places where that continuing journey has taken us. We take in Schloss Elmau in Bavaria, where the new duo CD by Michael Wollny and accordionist Vincent Peirani was recorded. From their album we hear “The Kiss.” Plus we travel to Austria and then to Martinique: two piano players who are both making their hugely promising debuts on the label are David Helbock and Grégory Privat. We also hear from two pianists of renown: the 'old master' Joachim Kühn is joined by his 'young lions' Eric Schaefer (drums) and Chris Jennings (bass) for a refreshing take on “Sleep on it,” a reggae-dub number by the French band Stand High Patrol. Iiro Rantala is on fine form in the “super-trio” with Lars Danielsson and Peter Erskine. They play Kenny Barron's “Voyage” with a Finnish lightness of touch. Der Tagesspiegel wrote of the “Jazz at the Berlin Philharmonic” concerts: “This is jazz history in the making”. We have released recordings of two further completely memorable evenings in one of Europe’s great halls: in “Tears for Esbjörn,” a group consisting of stars of the ACT label unite to pay homage to Esbjörn Svensson. In “Celtic Roots” we set off into the swirling mists of the North, in search of the Celtic influences on jazz. ACT is the place to hear European sounds. A good example is the new Mare Nostrum recording, seven years after the first. In the track “Kristallen den fina,” Jan Lundgren und Paolo Fresu have combined the musical hues of Sweden and of Italy, and the results are magical. For more than 20 years, Nils Landgren has been setting the agenda for European jazz like no other musician. His project “Some Other Time” also draws its inspiration from the other side of the Atlantic. He pays tribute to the great Leonard Bernstein, deploying all of the rich textural possibilities offered by the Bochum Symphony Orchestra. Swedish pianist Jan Lundgren, with a classical string quartet honours one of the great pioneers of Swedish jazz, Jan Johansson. In “Lycklig resa” (meaning 'bon voyage'). The extraordinary encounter of the guitarists Gerardo Núñez from Spain and Ulf Wakenius from Sweden demonstrates what can happen when an intercultural musical exchange really delivers the goods. The interplay, the sense of flow generated by three Scandinavians Lars Danielsson (b), Marius Neset (sax) und Morten Lund (dr) in their album “sun blowing” is “a testament to the power of spontaneity and trust” (Irish Times) - evident in the track “Folksong.” The Finn Jukka Perkko and a new “strong and distinctively touching voice” (Jazz Magazine) from France Lou Tavano also make their mark, and contribute to the richness of the ACT label's offering of characterful European sounds. Magic Moments 9, packed with all kinds of excitement and emotion, not only captures an up-to-the-minute snapshot of European jazz in the many different forms it exists today, but also offers a glimpse into its future.Credits: Compilation by Siggi Loch Mastered by Klaus Scheuermann

Gerardo Núñez & Ulf Wakenius - LogosCD / digital Gerardo Núñez flamenco guitar Ulf Wakenius acoustic nylon string guitar Cepillo percussion Cancun flamenco singing Carmen Cortés & Isabel Núñez palmas & jaleos Unfamiliar combinations in music can lead to surprising, captivating results. At the “Jazz at Berlin Philharmonic” concert in October 2014, series curator Siggi Loch presented Swedish guitarist Ulf Wakenius in a new and unexpected role: as second guitarist alongside the undisputed master of flamenco nuevo, Gerardo Núñez. The combination of Wakenius and Núñez has succeeded in sending the Jazzpaña project off into a wholly new direction. The Tagesspiegel described the occasion as a “mighty fiesta.” Sparks definitely flew, Núñez had an appetite for more of the same, and he invited his Swedish colleague straight back to Madrid for the re-match. This is the meeting of two superbly gifted virtuosi and absolute masters of their instrument: Gerardo Núñez, originally from Jerez de la Frontera, has been called the crown prince of the flamenco guitar. Núñez is the natural and obvious successor to Paco de Lucía who passed away in 2014. He has not just renewed the centuries-old Spanish art form of flamenco, he has opened its doors, and let the winds of jazz, pop music and classical music blow in. For Núñez, co-operations which can lead to new inspiration have become something of a trademark. He has worked with operatic tenor Placido Domingo, with pop music idol Julio Iglesias and with John Patitucci, the star bassist from the world of jazz. Now, in Ulf Wakenius, he has found his ideal partner, because the Swedish guitarist is a musician unusually receptive to new contacts and new ideas. Wakenius’ playing has always not just been inspired by the American jazz tradition but also by world music. Wakenius can play in just about any style he chooses, and always in a wholly individual way. His openness and versatility are the hallmarks of a quite remarkable career. Wakenius has played alongside two bass icons Niels-Henning Ørsted Pedersen and Ray Brown, and for many years was a member of the legendary Oscar Peterson Quartet. He has also made his mark accompanying of singers such as Youn Sun Nah and Viktoria Tolstoy, and given free rein to his vagabond side in a duo with that unstoppable rising star of the accordion, Vincent Peirani. Núñez has explained the name of the album. “Logos”, he says “describes the mystery of our meeting.” The word beckons the listener into the world the two have created through their intense conversation. They combine their musical vocabularies and create rhetoric, dialogue, narrative, discussion, definition and meaning. “Logos” is also the meeting of two of the major guitarists of our time, two very different characters with both respect and curiosity for the other's music. They work so well together because each musician symbiotically extends the ideas of the other, and creates context and validity in the moment. “Logos” might be unexpected, but it has developed its own logic, and that logic is irresistible.Credits:Produced by Gerardo Núñez Executive Producer: Siggi Loch Cover art by Gert & Uwe Tobias

Jazz at Berlin Philharmonic - Jazz at Berlin Philharmonic V: Lost Hero - Tears for EsbjörnCD / digital Iiro Rantala piano Viktoria Tolstoy vocals Ulf Wakenius guitar Lars Danielsson bass Morten Lund drums The Swedish pianist Esbjörn Svensson, who died in a tragic accident in 2008, changed the course of jazz in Europe in this century. He breathed new life into the most classic of all jazz formations, the piano trio, because he had a compelling vision of how he could make it function like a rock band. That concept ran right through what he did: from the group's outward appearance to way they cohered and kept their sights firmly fixed on their shared musical concept. The trio e.s.t. always drew the listener in quite brilliantly with their catchy melodic hooks, their particular way of circling and repeating, insistent and completely mesmeric. The result was that Svensson became the pop star of jazz. Countless bands have followed his example and adopted the basic design of e.s.t. Svensson's concept of crossing genres has also been a major influence on a whole host of the leading European jazz pianists of our time. The Finnish pianist Iiro Rantala, who has without question developed a style which is entirely his own, nevertheless includes Svensson among the musicians who have inspired him. Rantala has been developing and refining his own ways to pay homage to his musical heroes. The most recent example is an album devoted to John Lennon, “My Working Class Hero,” but he first embarked on this kind of very personal venture earlier, in 2011, with “Lost Heroes”, an album for solo piano which also marked his debut on the ACT label. That album garnered the prestigious “Jahrespreis der deutschen Schallplattenkritik” and was honoured in the ECHO Jazz awards. Rantala pays tribute on it to his personal musical icons, from Jean Sibelius to Bill Evans and Michel Petrucciani – and even Luciano Pavarotti. There is also a nod on this album to fellow pianist Esbjörn Svensson with Rantala's emotionally affecting composition “Tears For Esbjörn.” That one piece, that germ of an idea was to grow into a full-length concert in the series "Jazz at Berlin Philharmonic". When it took place, on 1st October 2015, Iiro Rantala was able to draw on the support of several prominent musicians, all of them artists who have chosen to follow in Svensson's footsteps as far as the crossing of genres is concerned. That major event in remembrance of the "lost hero" Svensson was not just a triumph, it was also a deeply moving occasion. The concert also included one musician whose working relationship with Svensson had been particularly close, the singer Viktoria Tolstoy. She has been called - and with good reason - 'Esbjörn Svensson's voice'. She was the one artist for whom the pianist had been prepared to depart from the discipline he imposed on himself of concentrating all of his considerable energies on e.s.t. As early as 1997, Svensson took the then 22-year old singer under his wing for her first album "White Russian". He co-wrote the highly melodic pop-jazz songs which feature on it, and produced the album too. e.s.t. became Tolstoy's backing band on that album, and also accompanied her on the road around Germany for her first tour. Later, in 2004, Svensson wrote and arranged all of the material for her ACT debut album „Shining On You,“ and played piano on the album - under the pseudonym Bror Falk. Guitarist Ulf Wakenius is another musician with a special connection with Svensson. He was a huge admirer of his compatriot and in 2008 became the first musician to devote an entire album to pay homage by playing Svensson's music. The remaining two members of the all-star band at the Berliner Philharmonie were musicians who had already worked with Rantala on "My History of Jazz," and who share a multiplicity of connnections with all of the others involved in the concert. In the first instance there is Swedish bassist and cellist Lars Danielsson, a pivotal figure in European jazz, and also the Danish drummer Morten Lund, who has participated on at least 60 albums by major international stars, and is regularly to be heard alongside members of the ACT label family such as Cæcilie Norby and Adam Bałdych, and indeed with Rantala himself. Rantala and his co-protagonists, in various formations, evoking different moods and adopting any number of interpretative strategies, have turned their attention to a number of the best known of Svemsson's compositions, which now form an intrinsic part of the Great European Songbook. The sequence of tracks takes in the mysterious slow motion Nordic atmospherics of “From Gagarins Point Of View.” which was the first hit for e.s.t., the drama of “Seven Days of Falling,” presented here as a piece for a guitar trio to improvise over, and the “Dodge the Dodo,” which was e.s.t's signature tune in their concerts. The title track of the album, “Tears For Esbjörn,” performed by the trio of Iiro Rantala, Lars Danielsson and Ulf Wakenius serves as a kind of prologue to the album. As the album's epilogue, John Lennon's “Imagine” brings an optimistic, Utopian vision, and creates an atmosphere which is consistent with Svensson's work and its wonderful power to connect. “Love is Real” is there too, as is to be expected. Svensson's most emotionally charged composition, and now a jazz standard, is movingly sung by Tolstoy and seems to justifies the album title “Tears for Esbjörn.” Tears for the loss of an irreplaceable artist such as Svensson are justifiable, even inevitable. The man was taken from us, and cruelly early, but there can be no doubting the durability of his musical legacy.Credits:Curated, produced by Siggi Loch Recorded live in concert at the Berlin Philharmonie, (KMS), October 1, 2015 Recorded, mixed and mastered by Klaus Scheuermann Presented by Stiftung Berliner Philharmoniker

Gerardo Núñez - Jazzpaña LiveCD / Vinyl / digital Gerardo Núñez flamenco guitar Ulf Wakenius jazz guitar Chano Domínguez piano Ramón Valle piano Omar Rodriguez Calvo bass Liber Torriente drums Christof Lauer saxophone Cepillo / percussion“Music for people with open ears and open minds. Far removed from a predefined style. Without any fear of mixing genres.” In 1992, this was the understanding of jazz that producer Siggi Loch based the launch of his ACT adventure on. The label’s very first recording, Jazzpaña, was to become a milestone and synonym for ACT’s philosophy, and became a double Grammy nominee in the process. Jazzpaña brought the stars of the “Nuevo Flamenco” from Spain together with US jazz greats such as Michael Brecker, Peter Erskine and Al Di Meola, backed by the sound of the WDR Big Band. The arrangements came from Vince Mendoza, though a little-known artist at the time, he is now one of the most versatile and prolific composer-arranger-conductors of the last two decades, a multi-Grammy Award winner who has written arrangements for everyone from Joni Mitchell, Sting, Elvis Costello and Bjork to Joe Zawinul, John Scofield and Charlie Haden. 12-time Grammy winner and star producer Arif Mardin, who throughout the course of his career worked with greats such as Aretha Franklin, Whitney Houston and Norah Jones, completed the set with a suite of his own. Jazzpaña sought to connect the unexpected, in this case Flamenco and Jazz, and one album became two in 2000 with a smaller, but no less prominent line-up. Jazzpaña II was led by Gerardo Núñez and Chano Domínguez and peppered with soloists like Jorge Pardo, Perico Sambeat and again Michael Brecker. Once again, it was a huge success: “Grandiose Musik” proclaimed Germany’s esteemed magazine Der Spiegel. Now, 15 years on from Jazzpaña II, and over two decades since the original idea was conceived, ACT presents Jazzpaña live. This latest chapter in the Jazzpaña story was recorded live from both the Berlin Philharmonie Kammermusiksaal and WDR 3 Jazzfest in Dortmund. For this concert, once again both Jazz and Flamenco combine through Spanish Guitarist Gerardo Núñez, considered the heir apparent to the great Paco de Lucía, and Swedish guitar virtuoso Ulf Wakenius, however this time a third element, Cuba, is added courtesy of Cuban pianist Ramón Valle. His trio explores the close relationship between Hispanic music and the music of Andalusia, with the results particularly impressive on “Siboney”, an homage to the greatest of all Cuban composers, Ernesto Lecuona.  Credits: Recorded live in concert at the Berlin Philharmonie (KMS), October 21, 2014 Recorded and mixed by Klaus Scheuermann And at the WDR 3 Jazzfest 2015, Domicil Dortmund, January 31, 2015 WDR 3 Jazzfest concert producer: Dr. Bernd Hoffmann Sound engineer: Rolf Lingenberg Audio technician: Reiner Kühl Mastered by Christian Schmitt Recording producer: Christoph Terbuyken Album mastering by Klaus Scheuermann

Various Artists - Magic Moments 7 - Sounds of SurpriseCD / digitalMagic Moments: 16 tracks, over 50 contributors, 70 minutes of top-tier jazz infotainment from the current ACT lineup. Continuity. Trust and vision. Sustainability and unity. Discovering and nurturing talent. Supporting the next generation. These are key components and central pillars of the ACT philosophy, guiding our work for over 22 years: This year, we celebrate 20 years of successful partnership with Nils Landgren. We congratulate rising stars like Vincent Peirani and Emile Parisien, each awarded "Artist of the Year" in France at the Victoires du Jazz. We are delighted by Michael Wollny’s remarkable development into Germany’s leading jazz musician, emerging from our Young German Jazz series — a program that continues to serve as a breeding ground for promising artists such as vocalist Tobias Christl. The fact that even established jazz greats like Manu Katché — whom we warmly welcome as a new member of the ACT family — are now taking notice of our work is a great honor. Nevertheless, we remain true to our mission: above all, to discover the stars of tomorrow.Credits: Compilation by Siggi Loch Mastered by Klaus Scheuermann

Ulf Wakenius - Momento MagicoCD / digital Ulf Wakenius steel string, nylon string & bass guitar (all acoustic) The unceasing quest for those magical moments in music is what drives jazz musicians to do what they do: “I was blessed to experience such moments in my work with wonderful artists like Oscar Peterson, Herbie Hancock, Pat Metheny, Youn Sun Nah and others,“ recounts guitarist Ulf Wakenius. And that is what the new album “Momento Magico“ is all about – those rare and extraordinary moments outside the bounds of time and space that stay with you throughout an entire musical life. In recent years, Wakenius has made the biggest impact at the side of vocalist Youn Sun Nah. Not many star guitarists would voluntarily cede into the inevitable role of accompanist to the “secret queen of jazz “ (Süddeutsche Zeitung), who is not only a star in her adopted homeland France: Wakenius dedicated the title track to her and the magical moments they shared together; a number that combines “Frevo“, which they often played together, with Mozart. And at least two other pieces would not have ended up on “Momento Magico“ without this collaboration: for example the silkily Bossa-robed “Gnossienne“, the tune by Erik Satie, whom Wakenius has admired for so long, dedicated to their joint France manager Axel Matignon. And the closing chanson classic “La Mer“ by Charles Trenet, that Wakenius renders as a minimalistic, extremely delicate ode to the beauty of France. Humility pervades the entire album of the Swede, who is otherwise such a showman – especially live: his percussion excursions on the strings are legendary, as are the many flourishes at the end of “Blues For Oscar“, his homage to Oscar Peterson, in whose quartet he played for ten years. Here, Wakenius concentrates entirely on the acoustic guitar, on researching its natural sound, which in its diversity is veritably made for lending a new lease of life to the widest range of magical moments. And as with the pieces named above, Wakenius dedicated each song on the album to a companion, friend or influential person, and that means that it is inevitable, for a Swedish jazz musician of his generation, that this begins with Esbjörn Svensson. The moving “Ballad For E.“ by Svensson's life-long friend and percussion accompanist Magnus Öström, per se of unadorned beauty, condenses to a pure essence at the hands of Wakenius. Just like “Liberetto“ honours the beauty of the compositions by bassist Lars Danielsson, with Wakenius' unmistakable, polyphonic ballad style, with bodiless bass notes and delicate scale runs. Wakenius' way of playing has always been inspired and pervaded by not only American jazz, but also world music. For this reason, the forms of folk music that are most important to him are also dedicated tracks on “Momento Magico“, all of which self-composed: “Hindustan Blues“ smacks of raga, with Wakenius' typical syncopated rhythms and Indian guitar sounds; “Mali On My Mind“ is reminiscent of the birthplace of the blues in West Africa. “The Dragon“ endeavours to transfer the sound of the Chinese pipa instrument to the guitar, and succeeds with a vengeance. “Esperanto“ integrates influences from Greece, Russia and the Middle East. While the above would already be enough material for several albums for other musicians, it is just enough to get Wakenius going. In the touching “Requiem For A Lost Son“ he reminds us of the son of his great colleague John Scofield, who died at just 26 years of age. A nimble “Preludio“ is dedicated to Keith Jarrett, the jazzy “Notes For OP And Wes“ to Wes Montgomery, the, as Wakenius puts it, “ultimate genius of the jazz guitar“ and it reawakens the experiences with the legendary Oscar Peterson Quartet, “that changed my life“. “Sugar Man“ is inspired by the documentary film “Searching for Sugar Man“ by the Swedish documentary filmmaker Malik Bendjelloul about the life of the long missing singer/songwriter Sixto Rodriguez, who moves continually back and forth between America, Africa and Australia. This floating folk song for several parts, permeated by a bluesy lead voice, lasts just two minutes, and yet in this short time it displays the entire spectrum of Wakenius' virtuosity, which he places entirely at the service of music. What Wakenius has created here out of his memory of so many magical moments is definitely capable of giving the listener a few as well.Credits: Produced by Ulf Wakenius & Lars Nilsson Recorded, mixed and mastered by Lars Nilsson at Nilento Studio, Gothenburg Cover Art by Daniel Richter, Hoffnung II, 2010, by permission of the artist

Various Artists - Duo Art: Creating MagicCD / digitalDuo Art – it is the most reduced form of making music together, while no less rewarding. When it succeeds it is the smallest big-band in the world. Two people all alone, in harmony and competition. Complementing each other, scrutinising, and telling each other their opinion – a fascinating ear-to-ear dialogue. Spontaneous and intense, call and response – jazz in its purest form. A musical tight-rope act without a safety net. Ideally, wonderful art results. The duet can be found all through the history of jazz. The oeuvre of every great jazz musician simply cannot be without its duet recording. The duet has also always been a source of fascination for ACT: "How will two musicians react to one another? Will they find a common ground and will it lead them to new heights?" To this day, ACT continues to seek new answers to these questions, and it dares to experiment with the most diverse of musician constellations. "Creating Magic" is a presentation of more than 20 years of ACT Duo Art and the musical trailer for the new ACT Duo Art series that documents magical dialogues. As early as in the initial ACT program in 1992, Jasper van‘t Hof, Bob Malach and Wayne Krantz joined forces in various duos. The Swedish pianist Jan Johansson is considered a pioneer of Scandinavian jazz. With "Jazz på svenska" (Jazz in Swedish) he paved jazz a road into folk music, significantly in a duet with Georg Riedel on the bass. Siggi Loch experienced the two musicians in 1964 in Hamburg at the NDR Jazzworkshop, and 30 years later he wrote further pages in the story of "Swedish Folk - Modern" together with Nils Landgren and Esbjörn Svensson. Together with the Polish piano high-flyer Leszek Możdżer, Swedish master bassist Lars Danielsson also achieves a harmonious symbiosis on "Pasodoble" that is rare to behold. Together they attain an unheard-of level of interaction and esprit. Iiro Rantala and Michael Wollny created an ethereal musical moment in their dialogue on two grand pianos on "Jazz at the Berlin Philharmonic" in December 2012: "Tears For Esbjörn" is a poignant homage to the piano visionary Esbjörn Svensson, who died in 2008. Wollny can also be heard in duet on "Creating Magic": the unreleased "Polygon", recorded at Schloss Elmau, with the Norwegian saxophone shooting star Marius Neset, is the first ever meeting of these two, perhaps most important young European jazz musicians of our time, and it shows in no uncertain terms that the future is bright. The sampler ends with a track that has, in its own tragic way, gained a place in jazz history: "You Stole My Heart" is the last recording that Eddie Harris made, briefly before his passing. After the concert recordings with the WDR Big Band, which can also be heard on "The Last Concert", he asked pianist Gil Goldstein to stay for an extra night session. One last time he exposed his soul in the song he dedicated to his wife. Back in Los Angeles he was hospitalised and died on 5 November 1996.Credits: Compilation produced by Siggi Loch and mastered by Klaus Scheuermann The Art in Music: Cover art (Detail) by Philip Taaffe / ACT Art Collection

For the 20th birthday of ACT-Music, the Jubilee Album presents 20 highlights from the moving history of the Munich label. A real treat for connoisseurs, explorers, researchers and the curious, as well as for anyone seeking the Spirit of Jazz.

On Vagabond, the globetrotter Wakenius shows the curiosity he has for all kinds of good music and how versatile he knows how to use his guitar: from the French "Bretagne" and the Nordic-tinged "Psalms" to the Indian sounds of "Witchi-Tai-To" and the Asian-style "Song For Japan" - Wakenius brings musical postcards from all over the world.

ACT, Germany's "Jazz Label of the Year" (ECHO Jazz 2010), impresses with cool show of work.

Ulf Wakenius' Signature Edition: 24 tracks, 120 minutes of music personally selected, showcasing his artistic essence from 1991 to 2008.

Unique musical encounters at Schloss Elmau: Highlights of the jazz partnership between Sweden and Germany - previously unreleased!

Swedish guitar star Ulf Wakenius reinterprets the finest compositions of e.s.t. with radio.string.quartet.vienna in a captivating jazz metamorphosis.

Two wonderful live recordings of the great, legendary Niels-Henning Ørsted Pedersen with his preferred trio of recent years, which also show guitarist Ulf Wakenius in top form. A fitting tribute to an unforgettable artist. "Sensational album - dreamy and unforgettable." - STEREOPLAY