Alone Janek Schaefer

With Fade to White, B.J. Nilsen abandons his Hazard moniker and Chris Watson's wind recordings (which have largely defined his sound since his breakthrough album Wind), but his artistry remains untouched and the music is as captivating as ever. If the technique and the approach are the same, the sound sources have changed, which makes Fade to White the exact opposite of Land: new and relevant. Nilsen treats his sources more extensively, their true nature now buried in multiple dreamy shrouds of reality. As usual, Jon Wozencroft's cover photographs add possible clues (or divert us from the true answers). "Purple Phase" opens on cavernous sounds, as if Nilsen was revisiting Janek Schaefer's Cold Storage rooms…

Paolo Di Sabatinoè uno di quei musicisti che richiamano all’ascolto l’immagine di antichi artigiani, di quelli capaci, con pochi sapienti gesti, apparentemente semplici, di modellare la materia, di crearequalcosa di bello che fino a pochi attimi prima non esisteva. Paolo Di Sabatino è uno dei pianisti italiani musicalmente più preparati e solidi, la cui maturità emerge in tutte le note non suonate, che sono quelle che danno respiro e senso al resto, nella robusta architettura sonora che sostiene le sue composizioni, piccoli gioielli capaci di imprimersi in maniera indelebile nella mente dell’ascoltatore.Una musica che si rivela vero nutrimento dell’anima, giusto per riprendere il senso dell’ultima sua fatica discografica.“Trace Elements”, importante punto di arrivo (e di partenza) nella carriera del pianista, summa della sua concezione della musica e della vita in generale, richiama nel titolo quei micronutrienti necessari allo sviluppo di un organismo.

"As an improviser, you often find that it‘s not the compositions themselves you‘re playing, but your own memories of them. And as these memories come back to you in the moment, they assert their continuing existence in the here and now," says Michael Wollny. In other words, songs are like ghosts. Wollny‘s new album "Ghosts" is a gathering of some of the ghosts that regularly haunt him. Typically for Wollny, they range from classics like Franz Schubert's "Erlkönig" to jazz standards, film music, songs with a certain fragility by Nick Cave, say, or the band Timber Timbre, and also include his own darkly evocative original compositions.

… arguably the finest jazz album of the last quarter of a century. (Stuart Nicholson, Jazzwise UK)

[em] Live , recorded at Jazz Baltica Salzau 2010, is definitive evidence of the biggest success story in German jazz in recent years. With their debut release in 2004, and with two more studio albums since, the trio [em] have been showered with awards in several countries. So what exactly is the secret of this trio? On the one hand, it is of course the exceptional individual skills of its members: that unique combination of excellent technique, inexhaustible creativity and instinctive interaction as is embodied by Michael Wollny and which is proven, besides [em], by other duet recordings with Heinz Sauer, Joachim Kühn and Tamar Halperin. On the other hand it is also the ever sonorous and rhythmically driven bass of Eva Kruse which sprawls from classical to modern music and is in demand from Sweden to Germany. And, of course, the highly precise, unrivalled versatility and extremely percussive drumming of Eric Schaefer. ~ Amazon