ACT are no stranger to the art of the duo album. Having paired together some phenomenal talents for projects over the years - including Bill Laurance & Michael League ('Keeping Company'), Johanna Summer & Jakob Manz ('Cameo'), Jan Lundgren & Yamandu ('Inner Spirits') - the German label keeps their winning streak going for the pairing of pianist Gwilym Simcock alongside saxophonist Emma Rawicz for 'Big Visit'. With the incredible distinction of releasing her third full-length album since 2022, Rawicz has proved something of an overnight sensation further boasting collaborations with Boreal Sun, Maria Grapsa Sextet and The Royal Academy Of Music Jazz Orchestra as well as scoring a clutch of awards and accolades that see her star continue to rise at an extraordinary rate.
With roots within jazz as well as classical music, pianist Simcock has reached insurmountable heights during his lengthy career. Whether the project finds him as one-half of a duo or as a key component of a big band ensemble, Simcock's indelible musical contributions have reached far and wide finding him having graced stages across the world alongside Pat Metheny, Linda Oh, Bobby McFerrin, Kenny Wheeler, amongst many others.
There's a nice divide over the album's six tracks with two compositions each penned by Rawicz and Simcock which feature snugly beside an exquisite take on 'Visions' by Stevie Wonder and Carl Fischer and Bill Carey's 'You've Changed', which was famously popularised by Billie Holiday. As spirited as it is sublime, 'Big Visit' already delivers as a true standout amongst each artist's catalogue.
With a diverse array of artists waving the flag for Scottish artistry, Matt Carmichael - now having released his third full-length effort - enlists an array of top-tier talent for his impassioned 'Dancing With Embers'. Having rocketed to success following the release of his first two albums, the saxophonist has become a pre-eminent face for the UK's contemporary jazz scene, and for an album which sounds as enchanting as the cover would suggest, Carmichael looks set to see even greater rewards with this go-round. Embracing strong elements of Scottish folk music as an integral part of his compositions, Carmichael's sublime and spirited project ushers in a mish-mash of contemporary styles that are as imaginative as they are respectful of its past lineage.
The revered pianist Fergus McCreadie features as part of Carmichael's core ensemble as does double-bassist Ali Watson (who is currently riding high following the recent release of his own project, 'Terrarium'). While singer-songwriter Rachel Sermanni dazzles with a sublime performance over 'Mangata' Carmichael's vision is very much the star here. With compositions that play beautifully towards an affectionate and warm-hearted nostalgia - elegantly captured through the album's title track - the album proves to be as joyous as it is introspective.
The release of 'Dissolving Patterns' could respectfully be described as somewhat overdue. Having initially performed together back in 2013, the trio of Mathias Landæus, Nina de Heney and Kresten Osgood have always affectionately called back to their distinctive chemistry whenever they were able to perform together. It's certainly a testament to their collaborative energy as each artist can boast a multitude of projects bearing their exalted efforts. Swedish pianist Mathias Landæus holds the proud distinction of helming over twenty albums as a bandleader along with boasting an even lengthier list of projects that have recruited his exquisite skills over the years. You could immerse yourself for days with the litany of projects drummer Kresten Osgood has accumulated via his Bandcamp page, from the high octane hip-hop of 'I Love Lucie Baines' to the off-kilter electro-dance of 'NICE OXY'. And then there's the music of bassist Nina de Heney whose explorations in solo bass prove a musical marvel, as evidenced through the 28-minute improvised piece 'two' or the collaborative release with Lina Järnegard, 'Solo Piece for Peace, Please'.
Each artist's affection for improvisation seem to serve as their individual and unifying force for their trio's formation and for 'Dissolving Patterns'. A project that was recorded in Gothenburg in November 2023 and now released exactly as it was recorded - an enthralling mix of composition and improvisation.
Serbian jazz has risen to prominence in exceptional levels over the last few years with artists like the Majamisty Trio, saxophonist Sanja Markovic and flautist Milena Jancuric waving the flag for the hot-bed of musical talent that the country has become. Now with the release of their sophomore full-length project, Broodmen look set to continue in their efforts to elevate Serbian jazz to even greater heights. Comprised of guitarist Dragan Alimpijević Pik, drummer Zoltán Simon and Lazar Novkov on the accordion, the Broodmen offer an exciting contribution to Serbian jazz by spearheading their multi-faceted sound.
Initially introduced via their debut album 'Secondary Emotions' in 2017, the band's ambitious free-wheeling and no rules approach was established at the outset and carried over to inspired effect six years later through the respectfully overdue, 'Liminality'.
Over the course of the album's ten tracks, the trio relish the creativity afforded to them through tracks that embrace a high-octane rock-like aesthetic as evidenced in 'Through the Woods', the bluesy psychedelic nature of 'Rumenka Blues' or the more meditative approach adopted in 'Still Standing'.
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