Back catalogue: Funk Soul & Jazz

Review: The Blue Land is Matthieu Bordenave's follow-up to his ECM trio debut and sees the addition of British drummer James Maddren, enhancing the ensemble's airy textural canvas with a more urgent, animated feel. Pianist Florian Weber's improvisations set the tone, displaying inventive tension and release. Bordenave's saxophone weaves a lyrical narrative, punctuated by bassist Moret and Maddren's perceptively timed contributions. The album strikes a delicate balance between tonal and abstract elements, as heard on the ominous title track and the meditative 'Cyrus.' With nods to Coltrane's 'Compassion"'and Jarrett-like piano, the ensemble delivers an intriguing and collectively expressive set of chamber ensemble pieces.

Review: Solo Arabian nocturnes for oud return to haunt us on Tunisian-born musician Anouar Brahem's latest full-length project, backed by stellarly moving counterpoints for cello, piano and bass. Beginning with Arab traditional music as a start-point, Brahem has, over the course of his career, slowly verged into the domains of contemporary classical and jazz. Fusing tradition and modernity, his compositions have a chiffon feel, creaseless and impeccably recorded, yet they also stomach a certain chronicity and locale, indulging harmonic modes and inherited composition techniques.

Review: Recorded in 2014 but only now seeing the light of day, this long-shelved session unites an exceptional ensemble, including the legendary American jazz alto saxophonist and composer Lee Konitz, the ever-explorative guitarist Bill Frisell, pianist Jason Moran, bassist Thomas Morgan and the rhythmic backbone of drummer Andrew Cyrille. Together, they create a meditative yet dynamic set, balancing composed frameworks with fluid improvisation. The album unfolds with 'Black is All Colors at Once' , where Moran's delicate piano textures meet Bro's shimmering guitar, setting the stage for Konitz's gracefully introspective saxophone lines. Konitz, still remarkably inventive at 86, takes a rare turn on soprano sax for Haiti, a lilting, playful piece that gently sways with a hypnotic ease. 'Milford Sound' honors the avant-garde drumming pioneer Milford Graves with a free-flowing elegance, while 'Pearl River' ventures into abstraction, as Bro and Frisell intertwine their guitars into a rich harmonic fabric. One of the album's finest moments comes with 'Mar Del Plata', a wistful, sax-free waltz that echoes Frisell's most poignant work. Throughout the set, restraint and atmosphere take precedence, with every note serving the ensemble's delicate interplay rather than sheer technical display. Taking Turns is a luminous addition to Bro's catalog, revealing new depths with each listen. Thoughtful, spacious and beautifully realised, it stands as a quietly stunning moment in modern jazz.

Review: After years of collaboration on ECM recordings, including Characters On A Wall, French clarinettist Louis Sclavis and pianist Benjamin Moussay now present a collaborative album, Unfolding. With a program of original compositions, of which two-thirds are by Moussay and the rest by Sclavis, they create an intimate and chamber-like dialogue where lyrical moments and playful inventiveness collide. Their improvisations flow patiently and explore each theme with a rare creativity. This warm, exploratory approach highlights the depth of their musical connection, and it was all recorded at Studios La Buissonne in Southern France in March 2024.