Nils Landgren has been and remains the absolute linchpin of the ACT family. To date, the Swede has made forty albums on the label as leader, plus another twenty as producer or soloist. Michael Wollny, whose many many projects with Landgren give him a special connection, sums up a key element in his success: “With Nils everything becomes easy.” There is indeed a particular ease about Mr. Red Horn’s way of being; it is infectious and runs through everything he does. Which is all the more remarkable when one considers the sheer number of roles he takes on: trombonist, singer, bandleader, producer, festival director, professor, curator, talent scout and mentor.

On his album „Odd Wisdom“, drummer Diego Piñera, together with a stellar cast of musicians, united the groove and vibe ot three different worlds: The percussive variety of his Latin-American origin, the urge for constant renewal of his current home Berlin and the energy of the metropolis New York City where the music was recorded.

The last few years have been a roller-coaster for Laila Biali.

The Beethoven 250th anniversary on 17 December 2020 is an event of national significance in Germany. It even finds its way into the text of the Federal Government's coalition agreement, where it is stated that the anniversary "offers outstanding opportunities for Germany as a cultural nation both at home and abroad. That is why the preparations for this important anniversary are task for the nation." Jazzrausch Bigband got the memo straight away. With their album "Beethoven's Breakdown" the band is honouring the pioneering composer in its own way. Not by being historically authentic or by preserving him in aspic, but in a manner that befits Beethoven the radical innovator. Just as he revolutionized the history of music, the equally forward-looking JRBB has pushed ahead with its bold concept of orchestral techno-jazz.

Andreas Schaerer’s recent projects have established him at the forefront of the creative jazz scene in Europe. The Berne-based artist’s debut on the label, the revolutionary orchestral work "The Big Wig", a commission from the Lucerne Festival, was followed by a quartet formation with Michael Wollny, Vincent Peirani and Emile Parisien, “Out of Land”, and most recently by an album with another quartet, “A Novel of Anomaly”. This succession of highly contrasting releases have shown that Schaerer is not a jazz singer in any conventional sense: he is a vocal artist capable of imitating almost every instrument or sound with his voice. He covers all kinds of vocal styles from crooning to operatic tenor, and he is able to juxtapose them all in a completely individual way. Now, having lain dormant while Schaerer pursued these other endeavours, the band that first put him on the map, Hildegard Lernt Fliegen (Hildegard learns to fly) is back in business.

“This isn’t about reproducing an original, it’s much more like a translation. When I absorb and adapt influences and when I write, I follow my own path – and that allows me to be myself. It’s a process from which something new and contemporary can emerge.” This is how Wolfgang Haffner describes the artistic approach in his “Kind of…” album trilogy, all of which have the unmistakable Haffner sound running right through them. After a first adventure in cool jazz, and then a search for musical traditions in Spain, his new destination is Buenos Aires: “From the moment Siggi Loch suggested tango as my third point of departure, I didn’t need any more convincing. Rhythm is the essence of tango, plus catchy melodies which can then be developed – and there’s so much emotion in it too.”

“A great voice, that hits people’s body and soul“ London Jazz News

There is serendipity about Joachim Kühn and Mateusz Smoczyński having combined as a duo. Their musical conversations tend to be sparked off by catchy little themes or motifs. Dialogues evolve freely, but also have a real sense of focus. Their pulse and their breathing seem to be as one. The pair have the courage to set off wherever their combined fantasy and imagination will take them, finding all kinds of moods and emotions along the way.

The time of rigid demarcations between musical genres is over. For those who see music, indeed who love music as a universal language offering unlimited scope for human expression, this can only be a positive development. When one considers the jazz pianists of our time, they have just about all received their grounding in classical music, and yet these are musicians who don’t just traverse many different jazz styles, they can also roam at will into other genres. And looking among them, it would be hard to find a pianist as quintessentially complete as Iiro Rantala from Finland.

Trance, ritual, mysticism, psychedelia, magic…however one chooses to describe the way that gnawa music affects people, there can be no denying the fascination for it which reaches right across the world. And Majid Bekkas, one of the most dazzling exponents of modern gnawa is also probably the musician who has managed to find the most varied and interesting ways to make this music interact with other genres. Now, with Magic Spirit Quartet, he has had taken the boldly imaginative step of building a bridge to connect North Africa and Scandinavia, to align the ancestral with the ambient. It is an inspired move which seems to catch the very spirit of 21st century jazz.

When Viktoria Tolstoy sings, it is her personal background, the things that have made her who she is, that resonate above all. Her choice of songs is rooted in her own experience, whether it be a deep attachment to her native country ("My Swedish Heart"), the quest for her Russian heritage – she is the great-great-granddaughter of Leo Tolstoy – ("My Russian Soul"), a desire to pay an affectionate tribute to Herbie Hancock ("Letters To Herbie"), or to interpret great film songs ("Meet Me At The Movies"). These thematic threads give Viktoria Tolstoy a way of singing songs which is hers and hers alone. And her voice has something truly special and individual too: there might be a hint of melodrama, or perhaps a certain sadness which is nonetheless underpinned with joy, or happiness, yet with an urgent and dramatic undertone. This innate sense of how to establish an emotional connection also helps to explain why Tolstoy has become one of the most successful singers in jazz from Scandinavia.

Duo - it's the most reduced way of making music together. At the same time it can open a whole musical world without borders. Two musicians acting as one and in a dialogue at the same time. Call and response - it's jazz in its purest form. Sometimes less is more…