Signature Edition 2

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 acoustic guitarEric Wakenius acoustic guitar & vocals   "He plays the guitar as if he was born with it." With these words, John McLaughlin once praised Ulf Wakenius. It seems that the guitar was also passed down to Ulf's son, Eric, as a natural talent from his father. 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

Even for the "Jubilee Album" celebrating this proud anniversary, ACT does not settle for the expected. Except for three pieces that can be considered "Signature Songs" of the ACT philosophy, all tracks are previously unreleased, and some were recorded specifically for this occasion with a changing "Allstar lineup" at the Hansa Studios in Berlin.

65 minutes of the best jazz-infotainment featuring the current ACT lineup at a special price. With e.s.t. Symphony, Fresu - Galliano - Lundgren, Nils Landgren, Michael Wollny & Vincent Peirani, Joachim Kühn New Trio, Iiro Rantala, Marius Neset, Lars Danielsson, Lou Tavano, and many more.

Unusual encounters often lead to extraordinary results: An impressive meeting of two guitar luminaries. A vital encounter between different characters who complement each other symbiotically. Or simply a multicultural statement of a special kind. Unexpected, but ultimately completely logical.

Few European jazz pianists have been as influential in recent years as the Swedish musician Esbjörn Svensson, who tragically passed away in 2008. In varying lineups, moods, and interpretive approaches, Iiro Rantala, Viktoria Tolstoy, Ulf Wakenius, Lars Danielsson, and Morten Lund pay tribute to some of Svensson's most well-known compositions from his trio, e.s.t., on "Jazz at Berlin Philharmonic." And when the album title "Tears for Esbjörn" is fulfilled with Svensson's perhaps most emotionally charged composition, "Love is Real," no one needs to be ashamed. Neither for tears of sorrow over the irreplaceable loss of Esbjörn Svensson nor for tears of joy over the music he left us.

Connecting the unexpected: Jazzpaña – Flamenco meets Jazz - a unique multicultural statement. Following Jazzpaña (1992) and Jazzpaña.II (2000), now available as a live version. And a third world has been added: Flamenco - Jazz - Cuba. Recorded at the Berlin Philharmonie and the WDR 3 Jazzfest in Dortmund.

16 tracks, over 50 contributors, 70 minutes of the best jazz-infotainment featuring the current ACT lineup at a special price.

Ulf Wakenius' Momento Magico celebrates guitar sounds inspired by Oscar Peterson & Youn Sun Nah.

Duo Art - it is the most reduced form of making music together. No less rich, if it succeeds, the smallest "big band" in the world. Two musicians on their own, in harmony and competition. Complementing each other, questioning each other and giving each other their opinion - a fascinating dialogue ear to ear. Spontaneous and intense, call and response - jazz in its purest form. Sometimes less is more to create magical moments - as "Duo Art Creating Magic" proves.

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