Three Trios

Jazz at Berlin Philharmonic XVII: Gnawa World BluesCD / Vinyl / digitalMajid Bekkas guembri, oud & vocalsNguyên Lê guitar & backing vocalsHamid Drake drums Three continents, three musical world citizens. Morocco-born Majid Bekkas, Franco-Vietnamese Nguyên Lê and American Hamid Drake have combined their astonishing musicality, their origins and their global experiences to create a captivating live concert programme encompassing desert blues, Gnawa trance, Middle Eastern jazz, sixties rock and Far Eastern serenity. Voice, oud and guembri (bass lute)...electric guitar with a wide spectrum of shimmering timbres...a percussion arsenal between subtlety and physicality – these are the tools deployed here by three remarkable, world-class, globe-trotting protagonists... Majid Bekkas's innovations have cast a wholly new light onto the fascinating music and culture of the Gnawa minority in Morocco, and he has also worked with jazz greats such as Joachim Kühn, Archie Shepp and Pharoah Sanders, and, most recently, with the Magic Spirit Quartet, whose recordings for ACT have built a bridge between Nordic and African sound worlds. Among the very great guitarists of our time, Nguyên Lê stands out as one of the most exciting and individual personalities, having developed a unique style in which Southeast Asian melodies, complex jazz harmonies and highly virtuoso excursions into rock naturally co-exist. Chicago-born Hamid Drake, with his intuitive feel for many of the world’s percussion traditions and his background of varied collaborations from Don Cherry over Peter Brötzmann to Melba Moore, provides an improbably wide range of rhythmic impulses.The repertoire which the three performed so memorably on 10 November 2024 reflects a tremendous wealth of ideas which fuse and coalesce. The opening track ‘Gore Blues has a reflective blues melody played in unison by oud and voice over a strumming guitar... then we hear an animated, five-note ‘trialogue’ between lute, electric guitar and delicate cymbal work. Then, with ‘Mrahba’, the trio enters the realm of traditional Gnawa music: here are Lê and Drake creating a rocky, funky mood, while Bekkas’s powerful incantations over a rearing bass riff create a trance. ‘Boom Boom’ - in tribute to John Lee Hooker - gets going like a heavy, rolling, yet organic blues machine – the way in which Bekkas breaks away from his roots here is utterly astonishing. 'Ascending Dragon' offers a meditative interlude... thumb piano… a melody thoughtfully hummed, Nguyên Lê ornamenting the melodic line brilliantly. Then, as a high-spirited antidote to this, Bekkas, Lê and Drake interpret Jimi Hendrix's ‘Purple Haze’, initially very close to the original, before the new middle section recalls the guitar hero's journey to the Gnawa stronghold of Essaouira in July 1969. ‘Tair’ starts as a free oud improvisation, which then stimulates the interplay of the two string masters. And in the finale “Sidi Bouganga”, the trio ignites the joyful side of the Gnawa language with a hymn-like, exuberant tone.Three stellar musicians have drawn on their musical heritages – and created a celebration of human kinship which is breathtakingly alive. Credits: Recorded live at Philharmonie Berlin on November 10, 2024 Recorded, mixed and mastered by Klaus ScheuermannCover art by Mohamed Melehi © 1969 (untitled), Casablanca Art School © VG Bild-Kunst, Bonn 2025

Nguyên Lê - Silk and SandCD / Vinyl / digital Nguyên Lê guitars, synths, vocals Chris Jennings acoustic bass Rhani Krija percussion gumbri, vocals Since guitarist Nguyên Lê became the first exclusive ACT artist thirty years ago, he has established himself as a distinctive voice of his instrument. And as one of the most important representatives of jazz as world music without borders. The 1959 born is one of the few whose technique, style and composition are unique and recognizable from the first note - a mastery in the true sense of the word. With "Silk and Sand" Lê now returns to the format of the trio with which he once began his career as a leader on "Million Waves". Lê was self-taught as a musician. He started out on the drums, only switching to guitar later. His academic studies were in fine art and philosophy, and it was only thereafter that he embarked on a career in music. His artistry, therefore, defines itself as being not of any particular school – he has developed very much according to his own precepts – and he also has cultural horizons which extend far beyond music. Another important principle with Lê is that he has always seen himself as a builder of bridges between genres, styles and continents. "I am the fusion of cultures personified," he says. Lê is a world musician in the most authentic sense, in whom European – and especially French – musical culture has always found a meeting-place with his Southeast Asian roots, and he combines these not just with American traditions of jazz and rock, but also with music from other continents. From his first, strongly Afro-Caribbean band, Ultramarine, his journey has taken him through albums like "Zanzibar", "Tales from Vietnam", then involved his participation in the groundbreaking neo-flamenco project "Jazzpaña", his collaboration with the traditional Vietnamese singer Huong Thanh, the trio E_L_B with Peter Erskine, and his multiple-award-winning Jimi Hendrix project. In the wake of a number of global fusion and rock ventures in recent years with international stars, "Silk and Sand" marks a return to the roots. Here we find a more refined and quieter kind of music-making, as the title implies, and also with more jazz in the mix. Lê also points out the connections with his earlier work: "On my album 'Three Trios' from 1996, I called two of the pieces "Silk" and "Sand": silk is precious and yet strong and it weaves the musicians' interplay together; the sand of the desert haunts the musician's dreams of other places. Twenty-six years later, these tracks are like pebbles on the path, and they are still there." But Nguyên Lê would not be himself if he were to rely only on the ingredients of a classical jazz line-up for a new trio. He chose Moroccan percussionist Rhani Krjia for the rhythm section, a musical soul mate with whom Lê wanted to work since years and whose subtle, colorful grooves have already enriched the music of stars such as Sting, Keziah Jones or Dominic Miller. The strong musical foundation of trio is provided by Canadian Chris Jennings, a long-time collaborator with Lê and one of the most sought-after bassists on both sides of the Atlantic. The title track, or indeed "Thar Desert Dawn", exemplifies the magic between the three musicians: these melodies are full of passion and reach out into improvisations. Lê lays them down over the North African rhythms of Rhani Krija and the massive but singing bass sound of Chris Jennings. The opening album track "Red City" is a wild, dynamic ride into the hustle and bustle of Asian or African cities, complete with urgent, clamorous voices. It gets rockier for "Onety-One" and especially on "Tiger's Dance", and then calmer for the hymn-like "Moonstone" and "The Waters of Ortigia", with a melody that unfolds slowly and deliciously. "Baraka" is strongly influenced by funk-infused African rhythms and has a teasing intro from Rhani Krija on the gimbri, and the final "Becoming Water" brings together the melodies and timbres of the Maghreb and Southeast Asia in an irresistible and touching way. The core trio with Jennings and Rhani is joined for two of the more elegiac pieces by Sylvain Barou on bansuri and duduk flutes, and by Miron Rafajlovic, who plays trumpet and flugelhorn on "Moonstone". The return to Lê's beginnings as an inspiration for new ideas is made clear by another of the guests appearing on "Silk and Sand": Etienne Mbappé delivers a stupendous electric bass solo on "Baraka". The Cameroonian, who became widely known for his work with Joe Zawinul, John McLaughlin Salif Keïta and others, was already a member of Lê's first band Ultramarine. Thus, in an irresistible and enjoyable way, Lê's "Silk and Sand" doesn’t just – as ever – build bridges between Asia, Africa and Europe, and between jazz, rock and world music….but also between past, present and future. Credits: Music composed and produced by Nguyên Lê Cover art "Snake" by Lucy Dodd, 2017

Various Artists - Magic Moments 15: In the Spirit of JazzCD / digitalBest jazz infotainment for the 30th anniversary of ACT: 16 tracks, 65 minutes of music in the spirit of jazz, featuring artists like Nils Landgren, Emile Parisien & Theo Croker, Iiro Rantala, Vincent Peirani Trio, Michael Wollny Trio, Joel Lyssarides, Jakob Manz & Johanna Summer, and more.Credits: Compilation by Siggi Loch Mastered by Klaus Scheuermann

Jazz at Berlin Philharmonic X - East - WestCD / digital Majid Bekkas guembri & vocals Nguyên Lê e-guitar NES Nesrine vocals & cello Matthieu Saglio cello & vocals David Gadea percussion Black String Yoon Jeong Heo e-guitarGeomungo Jean Oh e-guitar Aram Lee / daegeum & yanggeum Min Wang Hwang ajaeng & janggu ‘East meets West’ was the central theme in the life of Nesuhi Ertegün (1917-1989). He grew up as the son of the Turkish Ambassador in Washington, and Nesuhi himself was to become an ambassador too: one of the most important producers and advocates that jazz has ever had. On the 30th anniversary of his death, Jazz at Berlin Philharmonic curator Siggi Loch dedicated an evening to commemorating this friend and mentor who had been like a father to him. For Nesuhi, jazz had no borders; this concert was a posthumous validation of the farsightedness of that vision. On the cultural world map, East-West today is synonymous with the tense relationship between Europe and Asia, between Occident and Orient. From the Renaissance to the present day, there have been repeated waves of enthusiasm for Eastern culture in the West. And for the hundred years or so that jazz has existed, it too has always tended to absorb elements from other cultures into its stylistic vocabulary. Conversely, artists from Eastern cultures have embraced jazz, fused it with their own traditions, revealing new and fascinating expressive possibilities. Black String, the South Korean quartet led by geomungo player Yoon Jeong Heo, takes a 1500-year old Korean musical tradition and brings it into the modern era and into jazz in way which is totally compelling artistically. NES Trio with charismatic singer/cellist Nesrine Belmokh has a distinctive sound drawn from the musical melting pot of the Mediterranean region. A special guest is the Moroccan oud and guembri player Majid Bekkas, who has often brought the Gnawa blues of his homeland into projects ranging from “folklore imaginaire” to avantgarde jazz. And providing the perfect East-West link is French-Vietnamese guitarist Nguyên Lê, whose go-between role combin-ing the worlds of jazz, rock and Asian folk music has been pio-neering. Together they celebrate a meeting of East and West. Nesui Ertegün would have been overjoyed. Credits: Recorded live in concert by Klaus Scheuermann at the Berlin Philharmonie (KMS), November 20, 2019 Mixed and mastered by Klaus Scheuermann Curated and produced by Siggi Loch Cover art by Philip Taaffe, Isfahan (2009), by courtesy of Jablonka Galerie Cologne

Nguyên Lê - OverseasCD / digital Nguyên Lê electric & bass guitars, electronics Ngô Hồng Quang vocals dàn nhi fiddle, dàn môi jaws harp, dàn bâu monocorde &dàn tính lute Illya Amar vibraphone, MalletKAT, T’rung bamboo xylophone Trung Bao beatbox Alex Tran percussion & drums Lê Thi Van Mai dàn tranh zither Nguyên Hoàng Anh bamboo sáo flute Minh Dàn Môi dàn do bamboo percussion Cuong Vu trumpet Chris Minh Doky acoustic bass Nguyên Lê’s "Overseas" – the great guitarist brings jazz, traditional Vietnamese music and hip-hop to the music for “Cirque-Nouveau”. "Overseas" stems from an interdisciplinary performance project combining dance, acrobatics and music. “Cirque-Nouveau”, conceived and directed by Tuan Le, whose other credits include work as lead choreographer for Cirque du Soleil, is an artistic reflection on the current zeitgeist of Vietnam, a country in which traditional lifestyles become disoriented through rapid modernisation, especially in the big cities. Nguyên Lê has written the music for it, a mix of jazz, traditional Vietnamese music and hip-hop; "Overseas", from ACT is the soundtrack for this compelling vision of change and flux. It is not just guitarist Nguyên Lê’s peerless command of technique that makes him a truly unique musician. Throughout his life he has also had the role of a go-between combining very different cultures. "I was born in France as the son of Vietnamese parents,” says Lê. “As an artist, I began to build my own identity with the culture of my parents and the country I lived in. And I am far from alone in this. Many other people have this experience too, so it is something which can be shared all over the world, and not just by Vietnamese people.” And a distinctive feature of all his creative work, whether in the company of illustrious American colleagues, or in the E_L_B trio with Peter Erskine and Michel Benita, or on albums with the fine Vietnamese singer Huong Thanh, or indeed in numerous projects of his own, is that he has engaged with the theme of reconnection with the culture of his homeland. Jazz has been the medium for him to combine the Vietnamese musical tradition with a wide variety styles, from flamenco to the music of the Middle East and beyond. And his interpretations of Led Zeppelin, Janis Joplin and above all his groundbreaking Jimi Hendrix project are testimony to this, as they deal with the outstanding artists who emerged in the protest movement against the Vietnam War. 22 years after his programmatic album "Tales from Viet-Nam", "Overseas" represents a new chapter of his search for the Vietnamese soul through the prism of jazz, and one which is unprecedented both in its diversity and in its use of multimedia. It is important to note that over time the questions that Lê has been asking himself have changed markedly: "Today it is no longer: 'Am I Vietnamese?’” he explains. “Because just as Vietnam itself has changed, so have I. Today I am Vietnamese and a citizen of the world. In my music that is what I want to express, so this project aims to bring out the creativity of the country as it is today. And that is why the show has been shaped by so many talents." And yet it is not strictly necessary to witness the incredible feats the performers and artists performing “Overseas” visually. One can be completely captivated by Lê's music, an inspiration in itself. Just as artists from several countries have brought together circus cultures from Paris, Lyon, Copenhagen, Seattle, Montreal, Hanoi and Ho Chi Minh City, so Lê brings together jazz, traditional folk music, rock, hip hop, reggae and electronica to create a blend which is surprisingly homogenous. And as regards the influences that have moulded his fellow musicians, Lê explains: "It begins with the diaspora of the Vietnamese artists, who create something of their own by distancing themselves from their roots, but which is nevertheless related to the culture of their past. And from this we develop the dream of universal communication." An impressive crew of musicians has come together for this project. Lê's basic band for this undertaking consists of two kindred spirits who have worked with him in several previous bands: drummer and percussionist Alex Tran and French vibraphonist Illya Amar. Then there are two young bandmembers who have been brought in more recently: neo-traditionalist young singer and multi-instrumentalist Ngô Hông Quang, and US-based beatboxer Trung Bao. In addition to the zither player LêThi Van Mai, the flutist Nguyên Hoàng Anh and the percussionist Minh Dàn Môi, Lê also has American star trumpeter Cuong Vu (born in Saigon), who became known above all as a Grammy-winning member of the Pat-Metheny band, plus Danish bassist Chris Minh Doky who has been a permanent fixture in the New York jazz scene since 1989. What all of them deliver could not possibly be described as merely illustrative music. From the very first note of the introductory "Noon Moon" through the seven-part "Overseas Suite" to the final evocation of "Mother Goddess", the listener is immersed in a totally refreshing mix of musical styles, always carried by limpid melodies and compelling rhythms. "Overseas" is genuinely impressive and affecting because Nguyên Lê has taken the topical theme of migration and also achieved the things that define every great work of art: it is deeply personal and very much of our time – but also universal and timeless. Credits: The OVERSEAS band was recorded by Nguyên Lê at Louxor studio, Paris, France. Mai Lê & Hoàng Anh recorded by Truong Anh Quân at Anh Em studio, Hà Nôi, Vietnam. Minh Môi recorded at Tràn Manh Tuân studio, Ho Chi Minh City, Vietnam. Cuong Vu recorded in Seattle, USA. Chris Minh Doky recorded at M-One Productions studio, Copenhagen, Denmark Music written and produced by Nguyên Lê “Mother Goddess” is an arrangement of a traditional Chau Van piece Mastered by Bruno Gruel at Elektra Mastering, except 1, 4, 12 & 13 by Klaus Scheuermann

Various Artists - Magic Moments 12CD / digitalOne World Of Music. The ACT label has jazz at its core, and an openness to all kinds of musical directions: pop, rock, the music of singer-songwriters and traditional folkloric forms such as flamenco and tango. These very different genres nonetheless never fail to find new and magical ways to work together. The twelfth Magic Moments compilation presents exciting music "in the Spirit of Jazz". All kinds of pleasure await the listener during its 71 minutes. And what can one expect to hear in this world so far away from a single predetermined style? There are surprises, obviously. Plus several chances to reconnect with established and familiar stars. And discoveries of some genuinely exciting newcomers. The opening track is from Iiro Rantala on solo piano. His portrait of the month of "August" is from "My Finnish Calendar", an album which sets to music the course of an entire year in his home country from a very personal point of view. Argentinian tango is a prime example of a musical tradition which is not just lively but is also constantly developing. The Javier Girotto Trio proves the point in "Deus Xango" from "Tango Nuevo Revisited", a contemporary reimagining of the Piazzolla/Mulligan classic album from 1975. "Four top-league jazz musicians who just enjoy playing". That description by the TV programme ZDF today Journal) defines exactly what "4WD" is all about. The four bandleaders involved are Nils Landgren, Mi-chael Wollny, Lars Danielsson and Wolfgang Haffner). Each of them is in equal control and they all set the direction of the group. "Flamenco and jazz are brothers," says Spanish piano newcomer Daniel García. In his energetic trio with special guest Jorge Pardo, he shows just how true that statement is with the fiery "Travesuras". French accordionist Vincent Peirani and his wife Serena Fisseau then create a familiar musical refuge: "What A Wonderful World" is a paean to silence. A duo of newcomers to the label, Grégoire Maret and Edmar Castaneda create new and exciting sound worlds. In "Harp vs. Harp" harmonica meets harp. This is indeed a special and rare pairing; "Blueserinho" absolutely needs to be heard. With his "Italian Songbook" trumpeter Luca Aquino has recorded a homage to the music of his homeland. Here is "Scalinatella" by film composer Giuseppe Cioffi in an affecting version for trio with the Italian piano star Danilo Rea and accordionist Natalino Marchetti. Singer Cæcilie Norby unites musicians from several generations and countries on "Sisters in Jazz". Her composition "Naked In The Dark" demonstrates that jazz is far from being only about men. "Klinken" comes from the debut album "Stax" by the 25-year-old drummer Max Stadtfeld, a release in the Young German Jazz series. Stadtfeld and his comrades-in-arms have no truck with intellectuality, they move in the rhythm-oriented mainstream and yet point beyond it. With freshness and astonishing maturity this quartet thrills and excites. For over 10 years the successful trio Mare Nostrum with Paolo Fresu, Richard Galliano and Jan Lundgren has been the epitome of the sound of Europe. All three musi-cians have a quite fabulous sense of the lyrical and poetic which is again very much to the fore in their third album; Magic Moments 12 has the Swedish "Ronneby". As the magazine Galore writes of German jazz icon Joachim Kühn. “He interprets Ornette Coleman's music in his very own way: lyrically, gently and introvertedly, but full of surprising details." Kühn relives the unique story of his work alongside one of the legends of jazz here with "Lost Thoughts", a piece never recorded before. On 6 February 2019, jazz baroness Pannonica (Nica) de Koenigswarter (1913-1988) received a posthumous tribute for her tireless commitment to jazz in a concert at the Philharmonie in Berlin. The focus was on pieces by musicians whom Pannonica had supported over so many years with money, accommodation, advice and friendship, and who often dedicated compositions to her in gratitude, "Little Butterly" by Thelonious Monk for example. The New York singer Charenée Wade is in the limelight here, accompanied by Iiro Rantala, Dan Berglund and Anton Eger, with the American saxophone titan Ernie Watts. "An Israeli power trio. Heavy Jazz," Rolling Stone wrote of Shalosh. And when you hear the frenzied "After The War" it is obvious why: rock and indie jazz combine to form a mix which is full of tension and excitement. Violinist Adam Baldych is a supremely talented virtuoso. Stereo Magazine has described him as "one of the most technically brilliant interpreters of improvised music". "Longing" from his album "Sacrum Profanum" is a searingly sad ballad, sensitively interpreted in a duo with pianist Krzysztof Dys. On "Painted Music" the pianist Carsten Dahl gives his own highly personal take on classics of the jazz repertoire. The traditional Danish folk song "Jeg gik mig ud en sommerdag" (I went out on a summer’s day) is the sound of summer. At the end of “Magic Moments 12”, Nguyên Lê's piece "Hippocampus" reminds us of "One World Of Music", the theme of the compilation. The French guitarist of Vietnamese ancestry is a musical wayfarer between cultures who combines the freedom of jazz with influences from rock and world music.Credits: Compilation by Siggi Loch Mastered by Klaus Scheuermann

Nguyên Lê - StreamsCD / Vinyl / digital Nguyên Lê electric guitar & electronics Illya Amar vibraphone Chris Jennings acoustic bass John Hadfield drums & percussion The only constant about Nguyên Lê’s career is that it’s always evolving. The Paris-born and based musician has established himself as a preeminent voice in combining myriad global musics with Vietnamese influences in thrilling and groundbreaking ways. His latest release, Streams, continues in that tradition. The album is a collaboration between Le and the worldly-minded talents of American drummer John Hadfield, Canadian bassist Chris Jennings and French vibraphonist Illya Amar. “Every album of mine is kind of the contrary of the one I did before, with its own story,” says Le. “Streams is more jazz than previous projects, in my most personal definition of the word. I started doing world jazz’ with 1996’s Tales from Viet Nam and 1998’s Maghreb & Friends. Integrating jazz and world music has been a long process across many subsequent albums. Now, I want to reveal where this journey has brought me today and how each cultural idiosyncrasy has melted into my own voice. Every tune on Streams has some inner ethnic inspiration. There are lots of Indian rhythm concepts, many Indian and Vietnamese phrasings, Oriental melodic shifts and accents, and rhythms from Maghreb—as well as unknown references to imaginary traditions.” Each tune on Streams explores engaging and complex compositional perspectives. “‘Subtle Body’ is a song with zones of different time signatures following each other seamlessly,” says Le. “‘Bamiyan’ is about rhythmic subdivisions, groupings and equivalencies. In fact, Streams has some of the most difficult music I’ve ever written. But there’s always a focus on melody, which ensures the songs don’t sound mathematical. For instance, ‘Mazurka’ has a romantic melody, followed by strong rhythmic development, based on the song’s unique West Indian and Polish roots. I like to think all of Streams’ music showcases the journey of cultures, and how cultures transform themselves when they travel.” “This group is a great symbiosis of musicians, human beings and artistic personalities,” says Lê. “I’ve known Illya since he was three. He's my stepson and I saw him grow up and become a fantastic vibraphonist. He has been intimate with all the aspects of my music and is now part of several of my bands. I’ve known Chris for over 10 years. He provides such solid foundations which are rare to hear in funky grooves for an acoustic bass player. At the same time, he makes every bass line sing. Chris introduced me to John, who has a deep love of indigenous traditions. He has traveled extensively to India, Peru, Mongolia, the Middle East, and Indonesia to learn the rhythms and instruments of each of these cultures. All three have deep ethnic musical experiences and knowledge that make them understand my music immediately.” For Lê, an essential element of jazz is having an open mind and open ears. “Because it's based on collective improvisation, jazz is about listening to the other musicians and reacting and adapting your musical speech to the other on the spot,” says Lê. “This essential dialog and interplay makes jazz musicians the most empowered for cross-cultural dialogues. The Streams quartet is one of my favorite examples of opening up that dialog. It creates rich musical conversations that, while grounded in jazz, ultimately transcends genres, enabling listeners to simply focus on and enjoy the music. I believe a new world of inspiration is opening up between tradition and modernity, East and West, and North and South. Streams is the embodiment of that idea.”

Various Artists - Hendrix in the Spirit of JazzCD / digital Various Artists “When I die, I want people to play my music, go wild and freak out and do anything they want to do.” Jimi Hendrix’s wish has been posthumously fulfilled. Although he had such misfortune in life, and died in 1970 at a mere 27 years of age, his immortal music has continued to be played ever since his death - very much in the spirit of that quote. Countless musicians in rock, pop and jazz have been influenced by Hendrix, and many have overtly based their own music on his. Among the ACT family of artists, several have been inspired by his music, and have found their own individual ways to play it. In November of this year this icon of the 1968 protest movement, this pioneer of rock would have been 75. A good reason, then, for ACT musicians to gather together for a retrospective called “Hendrix in the Spirit of Jazz”, to let the unique spirit of this genius of the electric guitar soar again.Pride of place here goes to Nguyên Lê. 25 years ago, he was the first artist to have an exclusive contract with ACT, in its first year of existence. As a self-taught guitarist, the Vietnamese-French musician is stylistically close to Hendrix, and the American has discernably influenced Lê’s instantly recognizable world music, which innovatively blends elements from Europe, Asia and America. Indeed, one of Lê’s very greatest successes was the 2002 CD “Purple – Celebrating Jimi Hendrix”. His versions of “1983…(A Merman I Should Turn To Be)” and “If 6 Was 9” form the centre of “Hendrix in the Spirit of Jazz”. Lê is immaculate in the way he lives up to the challenge of the title, taking all the freedom and danger of Hendrix’s rock music, and using the subtle craft of the jazz improviser to enhance it. Alongside Lê, Terri Lyne Carrington is a pivotal figure in this recording. Hendrix's themes are sometimes furiously rocky, sometimes soulful or atmospherically dream-like, and she not only propels them from the drums, she uses her voice to express his lyrics, which she also expands with thoughts of her own. And the other ACT stars on this album demonstrate what a kaleidoscope of colours, a diversity of styles and and lively cosmos Hendrix's pieces can become: whether it is Bugge Wesseltoft transforming “Angel” into a tender solo piano ballad, or his Finnish pianist colleague Iiro Rantala in a trio with Lars Danielsson on bass and Peter Erskine on drums on “Little Wing”. Or it can be the unique Youn Sun Nah’s “Drifting”, intoning an irresistible call of longing, or her soulful Swedish sister-in-jazz Ida Sand, wonderfully expressive in “Manic Depression”. From the NDR Bigband rocking out on “Voodoo Chile” to the ACT Family Band - Cæcilie Norby, Céline Bonacina, Wolfgang Haffner, Lars Danielsson with Nguyên Lê again – performing the most famous Hendrix anthem “Purple Haze” in front of an ecstatic audience celebrating the 20th birthday of ACT.“Hendrix in the Spirit of Jazz” is an anthology which shows that Hendrix’s music is as alive as it ever was – maybe even more so. And what it does - musically at least - is to encourage listeners to ‘go wild and freak out and do anything they want to do’.Credits: Music composed by Jimi Hendrix Compiled by Marco Ostrowski Mastered by Klaus Scheuermann

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

There are likely very few musicians who explore the concept of "jazz" and the possibilities of their instruments as extensively as guitarist Nguyên Lê. On "Hà Nôi Duo," he collaborates with the young Vietnamese singer and multi-instrumentalist Ngô Hồng Quang for a new adventure that bridges the gap between East and West, tradition and modernity, folklore, jazz, rock, and pop.

Up for a journey into the blue? With 16 sun-soaked tracks, compiled like a DJ set, "Fahrt ins Blaue" offers a relaxed listening trip in the spirit of jazz. Music for cruising and grooving, for feeling good, empathizing, and enjoying: a laid-back album with surprising moments and discovery potential. Refreshing for hot days. Cool sundown music for the twilight hour. And the perfect soundtrack for a relaxed car ride into the weekend, on vacation, or after work.

16 tracks, 71 minutes of the best jazz-infotainment featuring the current lineup of ACT stars, newcomers, and hidden gems at a special price: Romain Collin, Lars Danielsson, Régis Gizavo, Nguyên Lê, Torsten Goods, Wolfgang Haffner, Dieter Ilg, Kalle Kalima, Nils Landgren, Rudresh Mahanthappa, Natalia Mateo, Mighty Sam McClain, Youn Sun Nah, Cæcilie Norby, Jukka Perko, Iiro Rantala, Knut Reiersrud, Ida Sand, In The Country, Solveig Slettahjell, Randi Tytingvåg, Frank Woeste, and more.

On "celebrating The Dark Side Of The Moon," Nguyên Lê blends various musical colors together. Modern jazz, big band sound, world music, and the necessary rock attitude come together to create a colorful, multifaceted perspective on the original with attention to detail.

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

A powerful, exciting, convincing melange is created by Danish singer Caecilie Norby, who charges her favourite songs with jazz and classical music on her second ACT album "Silent Ways".

The live recording of the acclaimed concert in the Laeiszhalle Hamburg: "A world-class session" (Die Bunte) for the label's 20th birthday: "with booming tutti, various trios and quartets. great programme, great applause" (Die Welt).

"An earthquake in the big band soundscape." (laut.de) The Jazz Bigband Graz has an unmistakable group sound with a high electro content and drum'n'bass aesthetics. In six multi-layered pieces, Urban Folktales creates a synthesis of the arts that sets an international benchmark in terms of conceptual clarity and stylistic diversity in the field of orchestral jazz.

Nguyên Lê interprets classics by Marley, Zeppelin, Joplin & more, transforming them into a vibrant global fusion of jazz, rock & world music.

Bonacina's Power Trio, extended by special guest Nguyên Lê, presents a rousing-groovy mixture of modern jazz, rock and fusion.

Nguyên Lê's Signature Edition, featuring 24 tracks showcasing his unique musical journey from 1989 to 2009.

Nguyên Lê, Mieko Miyazaki, and Prabhu Edouard create magical soundscapes blending Vietnamese, Indian, and Japanese influences.

A musical feast in blue: Vince Mendoza conducts an outstanding ensemble blending jazz and classical.