Slow the Band: digestible fusion jazz played by 6 friends, based in Poland. In this crazy world, we take it SLOW, making sure that the music is really the best we can do at the moment. We started in 2010 and released 3 studio albums which received warm welcome from listeners, radio and press worldwide.. In 2023 we opened Vertigo Summer Jazz Festival in Wroclaw and we went international - our show at Jazztage Dresden flew so well that we release the 1st live album in the spring of 2024.

Blending psych-tinged indie-pop with Appalachia-sourced folk music, Toronto sextet Beams have long been a unique voice among the Canadian indie rock scene. With their newly announced third album Requiem for a Planet, the outfit… dive[s] headfirst into the difficult experience of coming of age in a world that isn’t nearly as functional as the one we may have perceived growing up.

Karate Boogaloo are proud to present Hold Your Horses, a mesmerizing new long-playing disc of original instrumental tunes from Melbourne, Australia's most dedicated. First LP to be co-released under Colemine Records and College of Knowledge. Band shares members with Australian band Surprise Chef.

After two critically acclaimed albums (2020’s Now Here’s An Echo From Your Future and 2022’s The Rest Is Distraction), and numerous mini-album, EP and single releases, London-based trio Girls In Synthesis return with their new statement; their third album Sublimation.

CRAFTING QUINTET is a modern jazz group that presents original, rich and diverse music. The five performers have patiently built a creative bond over the course of their concerts and residencies. On the score, we will always find a strong melody that captures the attention or a mixture of bold timbres that shape the sound of the group. On stage, it is the pleasure of interactive play and the management of authentic energy in the service of the reliefs of their music that makes this group so relevant and endearing.

Real Life’ is the result of Melbourne singer songwriter Jess Locke trying to make sense of a world that feels more and more unreal. Some parts of the album simply expressions of despair at a world that feels more and more dystopian. Writing this record, Locke found herself thinking a lot about what it means to live when you know that one day you will die, not just individually, but as a species, as a planet. But as much as our impermanence is very much a fact, it is also a fantasy, some theoretical, future event.

Sofi Paez is a pianist and composer born in Costa Rica but based in Berlin. She experiments with piano, voice and electronic elements in search for new ways of expression in her roots, using both the Spanish and English language. Sofi's pieces are often inspired by daily life and the nature that surrounds her.

Mörk have consistently been producing some of the finest jazz funk and psych soul for years now. A central player in the Budapest jazz scene, their performances as a band are energised and effortless. It's their songwriting which really places them on another level though. Tight hooks, delivered by vocalist (and occasional electric sitarist) Mark Zentai, glide across a rhythm section that can oscillate from driving and syncopated to comfortably laid back without effort. Astral Visions is a new collection of songs that displays the full range of inspirations and influences of the band. From psychedelic soul to disco infused jazz and afrobeat. A deep feature from Brother Portrait really projects the cosmic ambitions of this beautiful set of songs.

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This album aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects.

Technicolor Ghost Parade plunges into the unmediated terrain that opens up in the absence of the usual guidelines, the trio revels “in a situation where there’s no bass and no chords." The band is a volatile combo that draws on a vast continuum of jazz practices, from traditional jazz polyphony and ambient soundscapes to funk and free jazz. The trio can generate fierce grooves and render through-composed pieces with the textural acuity of a chamber ensemble. The canny use of electronics expands their sonic palette to the horizon.

The California-based Roots-Rock band have been gaining momentum across the UK and Europe for their acclaimed genre-bending music and epic one-of-a-kind live shows. Beaux Gris Gris expand their eclectic nature once again with this14 track album, celebrating and paying homage to classic songwriting and crossing the genre's that inspired their development as artists.

There is both seriousness and ecstasy on Moksha's second album. There are complex and virtuosic moments, but it also feels like music that arose from the simplest of all starting points, the play between three good fellow musicians. The trio's unique interplay began back in 2012, when they were still students and met to experiment with rhythm, raga and jazz. Their first album, “The Beauty of an Arbitrary Moment”, was released by Jazzland in 2016 and was very well received both at home and abroad. Their debut stands as a key release from a period in Norwegian improvised music characterized by open doors to expression and musicians from all over the world.

Recorded by Antonio Palomares, March 26th and 28th, 2001. Soundfield microphones. Remastered by Sean Murray 2024.

Amy Aileen Wood is unaccustomed to the spotlight, which is very much by design. A calming presence in any room and a force behind the drum kit, Wood meshes her astute listening skills with an undeniable ownership of the music at hand, as illustrated in her work on Fiona Apple’s 2020 record Fetch The Bolt Cutters, which Wood co-produced.

Jose Iturbi’s father built and tuned pianos as a hobby so the young José had access to an instrument from a very early age. He was one of four children and his sister Amparo (1899–1969) also had a career as a pianist. At the age of eleven Iturbi was studying piano at the Valencia Conservatory with Joaquín Malats, a friend of Albéniz. The Spanish composer heard Iturbi and gave him part of his new work Iberia to play. When Iturbi was fifteen, the people of his home-town collected money to send him to study at the Paris Conservatoire with Victor Staub.