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In 2013, he won the Chromatic Harmonica World Championship, followed by the Danish Crown Prince Couple's Stardust Award in 2016 and the Ben Webster Prize in 2017. He was the first musician admitted to the Rhythmic Music Conservatory with chromatic harmonica as his main instrument, and has since released a series of critically acclaimed albums, including his 2023 Storyville quintet album, Mouth Games. Heise is a true virtuoso with a harmonic curiosity and stylistic openness. He can play anything!Guitarist Pelle von Bulow is an established figure on the Danish jazz scene. He is one of a generation of guitarists who are inspired by the legacy of Doug Raney, who lived in Copenhagen. Pelle von Bulow is also a virtuoso and has, among others, incorporated influences from legends such as George Benson as well as the Brazilian jazz guitar tradition. 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The album is due for release on October 2, 2026 on Exlibris Musik.The twelve-track album originated as part of recording engineer Jonas Eliyah Munch-Hansen's final project. Rather than placing Dahl in the controlled environment of a conventional studio, Hansen chose Studio 1 in the former Radiohuset, allowing the hall's remarkable acoustics and distinctive atmosphere to become an integral part of the music. The concept was deliberately simple: Dahl would respond freely to a text of his own choosing, with no musical instructions beyond allowing the process to unfold. Throughout the album, the spacious resonance of the hall remains ever present, giving the listener the sensation of occupying the same room as the instrument.Upon entering the room and seeing the piano, Dahl simply began to play. There was no rehearsal and virtually no soundcheck. The recording captures music as it emerged, moment by moment. For Dahl, the project reflects a central artistic conviction: that music already exists before the performer reaches for it. The musician's task is not to impose ideas upon the music but to become sufficiently open for it to reveal itself. This philosophy gave rise to both the recording and it's title, The Empty Mirror, a metaphor for a state of presence in which intention gives way to listening.Throughout a career spanning jazz, classical music and free improvisation, Carsten Dahl has established himself as one of Scandinavia's most distinctive musical voices. Celebrated for his extraordinary imagination, technical command and deeply personal approach to improvisation, he continues to challenge conventional ideas of composition and performance. 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Recorded in Copenhagen, this trio date plants Sands squarely in a city that has long welcomed American jazz artists and made something distinctly its own from that exchange.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eStoryville Records presents Between Then and Now, a new trio album by acclaimed American pianist Christian Sands, joined by Danish bassist Thomas Fonnesbaek and Swedish drummer Rasmus Kihlberg. An international collaboration that captures contemporary jazz at the intersection of American tradition and Nordic musical sensibility.The album features 7 tracks, balancing original compositions by Sands and Fonnesbaek with inspired reinterpretations of jazz standards and classic repertoire by Bobby Timmons, Luiz Bonfa, and John Coltrane. Recorded in the spirit of Copenhagen's jazz tradition it presents jazz as both a living art form of the present and a dialogue with it's past, hence the title Between Then and Now.The collaboration grew from Sands' relationship with the Copenhagen jazz scene, initiated when former Montmartre musical director Christian Brorsen discovered him online and invited him to Denmark. Like earlier generations of American jazz musicians, including Ben Webster and Dexter Gordon, Sands quickly became a compelling presence in Copenhagen, where attentive listening and subtle interplay guide every performance. Over the years, he has been a frequent guest in Denmark and loved by the audience here. Together, the trio represents a truly international jazz language. Sands is celebrated for his virtuosic piano playing, rich harmonic imagination, and improvisational energy. Fonnesbaek, one of Europe's leading bassists, offers melodic clarity and technical brilliance shaped by the Danish jazz tradition, while Kihlberg contributes a refined rhythmic approach marked by elegance, precision and responsiveness.Together they have a compelling sound of openness yet you always feel the classic American jazz tradition in the music. This is modern American\/ Scandinavian music, not just jazz.Listen to Sands' inventive arrangement of Giant Leaves, which merges John Coltrane's Giant Steps with Joseph Kosma's Autumn Leaves, served as a tribute to legendary Danish drummer Alex Riel, who influenced both Sands and generations of jazz musicians in Europe.Original compositions such as Sands' Where Children Still Play and Where the Light Settles, and Fonnesbaek's Searching in Sahara reveal the trio's lyrical and exploratory approach. 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According to Rob Cowan in Gramophone, the box testified to a career of consistent excellence in the studio, 'her performances attentive to detail, sprightly and invariably at one with her chosen repertoire'. Such praise amplified the enthusiastic reception accorded to her long-pondered recording of Bach's Goldberg Variations, made for Piano Classics, and which was given an Editor's Choice by Gramophone for it's 'selfless commitment and personality, bringing delicacy, drama and architectural splendour to this great music.'In her latest recording, Klara Wurtz turns to equally canonic repertoire by Beethoven: the Third Piano Concerto, the 'Pathetique' and 'Moonlight' Sonatas. This illuminating combination allows the listener to trace Beethoven's development in a concentrated span of three years on the cusp of the 19th century, and specifically through his special feeling for the tragic-heroic key of C minor, which reached it's most celebrated expression in the Fifth Symphony. The slow movement of the 'Pathetique' Sonata has achieved hardly less iconic status in the popular imagination. It's mood of inward contemplation transports the listener to a space inside the mind of the 28-year-old Beethoven, which the outer panels of the sonata further heighten with their high and noble drama. From three years later, the C sharp minor of the 'Moonlight' Sonata further intensifies those contrasts of serenity and struggle with it's sublime opening movement followed by a pair of intricate and fiendishly demanding movements. In 1800 - the year before the 'Moonlight' - Beethoven addressed the legacy of Mozart head-on in the Third Piano Concerto, which takes both it's key and the shape of it's opening motif from the earlier composer's Concerto K491. 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For Frederic Rzewski, the term carried exactly this meaning. A Mensch is not a perfect person, but someone who remains fully human-capable of doubt, contradiction and critical thought, and resistant to becoming passive within larger societal systems. This idea runs quietly but consistently through his work. The pieces brought together here span more than sixty years, from the early 1950s to the last decade of his life, forming a kind of timeline across his career. The musical language changes, sometimes radically, but the underlying concerns remain strikingly constant. Rzewski's music engages with literature, politics and history, often through concrete situations-prison, injustice, personal crisis-but never in an abstract or detached way. The question is always how individuals relate to these forces, and whether they can remain human within them. In that sense, the ethical dimension of the Yiddish Mensch is not just a title, but something that can be heard throughout the programme. Taken as a whole, this recording traces a composer who never gave up on the idea that music can carry meaning beyond itself. 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Indeed, what could be more unusual than the combination of the 'little prince' of classical music with the accordion - the quintessential folk instrument, steeped in the memories, celebrations and melancholy of entire peoples?Unusual, certainly. Ridiculous? Certainly not. Rostropovich himself claimed that the bayan (the Russian accordion) was a better match for the cello than the piano. Who are we to contradict the great Soviet maestro? Actually, these two instruments share the essentials: bow and bellows - both breathe and sing, capable of both strength and fragility.After several years spent transcribing works by Bartok and Gluck, as well as Daft Punk and Ennio Morricone, the Duo Kiasma has gradually refocused it's exploration on a repertoire that has emerged almost naturally: Baroque music. POLARIS thus marks a decisive milestone in the Duo's journey. 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This remarkable longevity can easily be explained by the evolving nature of this musical genre, which is constantly changing both artistically and technically, from Kingston to London, New York, and more recently Berlin, Paris, Lyon and Saint-Étienne. For example, it is worth noting that for some years now, in France and elsewhere, a good number of artists have been thinking in terms of dub from the outset, breaking free from the original Jamaican model, which involved drawing inspiration almost systematically from an existing vocal track. Thirty years on, with the release of their second album, Brain Damage aim to reconnect with this tradition. Recent collaborations with the two vocalists, Learoy Green and Black Sifichi, have indeed provided the ideal source material for the creation of five tracks, each rendered in their respective dub versions, thus forming an album with a symmetrical, even geometric character - from it's very structure right down to it's title: 'Ashes to ashes \/ Dub to dub'. At the heart of the project lies the astute choice of two guests, each operating in diametrically opposed spheres yet brought together for the occasion, thereby emphasizing a certain 'unity of the circle': 'the unity of the circle'. Born of a genuine artistic vision, this geometric, symmetrical aesthetic-omnipresent in every detail of the album, both auditory and visual-complements Brain Damage's 'square' and robotic side, with it's three-dimensional evocations. Always working in close collaboration with the very latest digital technologies. This brings to mind 'the balance of the cube'. 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Her collaborators here, Randy Brecker and Janis Siegel, bring decades of jazz pedigree that speak to the company she keeps and the seriousness of her craft.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eSwedish vocalist Anna Pauline Andersson celebrates over two decades in jazz with her new album, Lucky To Be Me, on Storyville Records. The album is a culmination of years of artistic exploration, mentorship, and collaborative discovery.It features standout performances, including a trumpet solo by jazz legend Randy Brecker on Pauline's original composition Just One Song and a duet with Janis Siegel of the Manhattan Transfer on the title track.This 8-track recording includes one original composition and seven interpretations of jazz standards, cinematic favorites, and musical theatre classics. The repertoire reflects Pauline's deep engagement with the Great American Songbook, the narrative richness of musical theatre, and the improvisational possibilities of jazz. Each track captures a moment of musical conversation and spontaneous discovery, anchored by Pauline's luminous voice and emotional depth. The project gained momentum in 2023, when Pauline met Siegel in Sweden through pianist Mattias Nilsson. Their first duet sparked a musical understanding that quickly evolved into mentorship and collaboration. Siegel later introduced Pauline to pianist, arranger, and producer John Di Martino, whose arrangements and artistic direction shape the album's sound. Di Martino assembled a group of top New York jazz musicians and crafted each arrangement to showcase both Pauline's voice and the ensemble's improvisational interplay. The sessions were recorded in New York with a strong emphasis on live interaction, allowing the music to unfold naturally.For Pauline, Lucky To Be Me realizes a long-held dream while marking a personal and musical turning point. Recording in New York, the birthplace of much of the music that inspired her, was both symbolic and deeply meaningful. Working closely with Di Martino, Pauline blended her Nordic sensibility with the rhythmic vitality and storytelling of American jazz. This creative dialogue has produced arrangements that honor the original material while highlighting her distinctive interpretive voice.This collaborative approach shapes the album's repertoire, which combines an original composition with reinterpretations of classics from jazz, film, and musical theatre. Tracks like Leonard Bernstein's Lucky To Be Me and Michel Legrand's Les Parapluies de Cherbourg showcase Pauline's capacity to inhabit each song fully, while Rodgers \u0026amp; Hammerstein's The Sound of Music highlight her subtle phrasing and improvisational creativity. Collaborators including saxophonist Aaron Heick, trumpeter Freddie Hendrix, and percussionists Khalil Kwame Bell and Vince Cherico bring drive and textural richness to each performance.Recorded at Trading 8s Recording Studio in New Jersey, with duets tracked in Sweden, and mixed and mastered by Dave Darlington at Bass Hit Studio in New York City, the album unites two musical worlds: a Nordic jazz voice in dialogue with American tradition, enriched by mentorship and musical lineage. 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