With Tyshawn Sorey and Linda May Han Oh, exploring Iyer originals, Geri Allen’s Drummer’s Song and Cole Porter’s Night and Day.

Playing a chikulo from Mozambique, twelve-string guitar, tongue drums from Central Africa, kalimba, a Gambian sinding harp, a Peruvian charango, Egyptian nay flute, Japanese nohkan flute, Balinese suling flute, bowed sattar from Xinjiang, Tibetan cymbals…

‘‘There is no hurry to this music, but there is great depth,’ according to London Jazz News Among the highlights here is opener Reconstructing A Dream, a darkly lyrical reverie. To Stanko is Bro’s hushed tribute to the late, great Polish trumpeter Tomasz Stanko, who featured the guitarist in his ECM album Dark Eyes. Another homage to a late elder is Music For Black Pigeons, given its evocative title by Lee Konitz. Listeners will recognize Henriksen’s whispering, poetic sound from his 2008 ECM album Cartography, as well as his collaborations with Trio Mediaeval and Tigran Hamasyan. Rossy is celebrated for his decade-plus tenure in Brad Mehldau’s first trio. As for the leader, in the words of DownBeat, ‘Bro’s guitar is luminous… his music both hypnotic and dramatic.’‘

Trio Tapestry — with Marilyn Crispell and Carmen Castaldi.

The great Argentinean bandoneon player in his first purely solo recording for more than thirty years.
‘A powerful reminder of Dino’s gifts as a musical storyteller of great subtlety. His pieces in this intimate recording reach back to early memories: Don Caye, subtitled Variations on the work of Cayetano Saluzzi, is a most touching dedication to his father. Throughout, the bandoneonist reflects upon the fleeting passage of time.’
Wonderful music, warmly recommended.

Crafted, swinging, soulful Middle Eastern jazz, led by oud and bass clarinet. Dedicated to the great Palestinian poet Mahmoud Darwish. (Why he didn’t win the Nobel Prize isn’t a mystery.)

His own compositions for solo piano by this collaborator of Louis Sclavis.
‘Thoughtful, reflective and profoundly lyrical.’

Duets by Anouar Brahem’s accordionist and the classically-trained guitarist Seddiki, ranging from Greensleeves through Faure to their own improvisations and compositions.

‘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.’

For the first time on an ECM disc, the French clarinettist explores — in characteristically individual fashion — the classic jazz format of reeds, piano, bass and drums.
Sinewy, expressive engagements with the street art of Ernest Pignon-Ernest, from Ramallah to Rome, in search of ‘a dynamic, a movement that will give birth to a rhythm, an emotion, a song.’

After recent recordings with Mark Turner and Billy Hart, the pianist leads his own quartet through a programme of standards and blues, live at the Village Vanguard.
‘Its prime melodic voice is the veteran trumpeter Tom Harrell. Iverson extols the poetic vulnerability in his playing, particularly in such ballads as The Man I Love and Polka Dots and Moonbeam. The album’s effervescent swing is thanks to the top-flight rhythm team of bassist Ben Street and drummer Eric McPherson, whose subtle invention helps drive Denzil Best’s bebop groover Wee and two irresistibly bluesy Iverson originals.’