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His Batagraf percussion project with Helge Norbakken from Jon Hassell’s group (playing djembe, talking drum, sabar, garong) — inspired by Wolof, Yoruba, Cuban, Arab music — with singing and poetry. Check it!
His own selection from two ECMs and an Emarcy — subverting the big-band tropes second-nature to a large improvising ensemble. ‘Inspired by Gil Evans, Claus Ogerman and Oum Khalsoum.’
The Siwan collective, with a new lead singer, Mona Boutchebak from Algeria, in settings of the poetry of Al Andalus, exploring the correspondences between Arabic music, Andalusian classical music and European baroque music.
Siwan, the transcultural, trans-idiomatic musical collective — an Algerian lead singer, a kemençe player from Turkey, an Iranian master of the tombak, an innovative Norwegian drummer, and an energetic string section of baroque specialists — setting verses by Ummayad princess Wallada bint al-Mustakfi (1010-1091) and contemporaries including Ibn Zaydun (1003-1071) and Ibn Sara As-Santarini (1043-1123).
Music written for Angelopoulos’ film, featuring the viola of Kim Kashkashian, alongside oboe, accordion, voice, trumpet, french horn and cello.
With Gary Peacock and Jack DeJohnette, live in 2001 — this trio at its peak — kicking off with a Cole Porter and closing with a heart-rending solo piano reading of It’s All In The Game.
A quartet session, with Jan Garbarek.
Live in Brazil, April, 2011. ‘At his most exuberant… it’s a must’ (The Guardian). ‘Beautifully structured, jazzy, serious, sweet, playful, warm, economical, energetic, passionate’ (KJ. His mum likes it, too).
With Jan Garbarek, Palle Danielsson and Jon Christensen at Tokyo’s Nakano Sun Plaza in April 1979.
Live in Juan-les-Pins, 2002, with Peacock and DeJohnette, with two Miles’ and Autumn Leaves magnificently revisited.
With Gary Peacock, Jack DeJohnette.
‘A spontaneous solo suite interspersing touches of the blues and folksong lyricism between pieces of polyrhythmic and harmonic complexity… one of his very finest performances. An attentive and appreciative audience hangs on every note, every nuance, and is rewarded with some tender encores including a magical version of It’s A Lonesome Old Town.’