Europe Jazz Media Chart

Januar 2020




Cim Meyer, Jazz Special

John Bailey: IN REAL TIME, Summit

Christine Stephan, JAZZTHETIK

Tobias Preisig: DIVER QUIET, Love

Viktor Bensusan, jazzdergisi.com

Tori Freestone Trio: EL MAR DE NUBES, Whirlwind




Henning Bolte, Written in Music

Vincent Courtois - Daniel Erdmann - Robin Fincker: Love of Life, La Buissonne

Violoncello, saxophone, clarinet / saxophone – that’s how a trio also can work and sound: as a consonant unity elating listeners’ souls, as a consonant unity with emerging flashy color layering, with amazingly flexible roles in terms of melody, rhythm, texture, with a many-sided approach from moment to moment, phrase to phrase, thereby creating an intimate as well as orchestral impact – extraordinary, excellent, exhilarating and conquering. Melody is key here in company of its beguiling semblances and sediments, source of inspiration from turbulent bygone days was Jack London (1876-1916), put on record it was in Oakland, California, once the inspirator’s hometown and the rest is for its joyously humming listeners.

Patrik Sandberg, OrkesterJournalen


Majid Bekkas, Goran Kajfeš, Jesper Nordenström and Stefan Pasborg offer a fruitful musical meeting between gnawa trance and psychedelic jazz on this inspired debut. Oudplayer and singer Majid Bekkas’ roots are in North African music, but he also has long experience in the jazz idiom after collaborations with Joachim Kühn and Pharoah Sanders. Everyone in the quartet goes on their own excursions on their instruments, but the strongest moments occur when the quartet focus on a repetitive, vibrant groove.


Lars Mossefinn, Dag og tid

Tore Johansen: SANG, Inner Ear

Matthieu Jouan, citizenjazz.com

Daniel Erdmann's Velvet Revolution: A SHORT MOMENT OF ZERO G, BMC

One of the sweetest and most lyrical saxophonists in Europe, always looking for the right note, an overhead melody, a music with precious and warm colors. A musician to follow without hesitation.


Axel Stinshoff, Jazz thing

Shake Stew: GRISGRIS, Traumton

Luca Vitali, Giornale della Musica

Silent Fires: FORESTS, AMP Music & Records

Madli-Liis Parts, Muusika

Kruglov-Sooäär Quartet: TCHAIKOVSKY, ArtBeat

Paweł Brodowski, Jazz Forum

Wojtek Mazolewski Quintet: WHEN ANGELS FALL, WMQ / Agora

Since Krzysztof Komeda’s untimely departure half a century ago there have been released in Poland more than 40 records with interpretations of his music. And just when you start to think it’s been enough, there appears yet another new album that claims to be more convincing and truer to his spirit than any of the previous ones. This is the case with Wojtek Mazolewski and his latest effort WHEN ANGLES FALL. Released on his own label, it features a dozen of Komeda’s compositions, spanning almost his entire career, from MEMORY OF BACH first performed at his sensational debut at the 1956 Sopot Jazz Festival to his lullaby Sleep Safe and Warm from Roman Polanski’s horror movie ROSEMARY’S BABY that brought him fame a year before he tragically died at age 38.
The opening title piece comes from Polanski’s less known early film, but Crazy Girl and Ballad for Bernt from KNIFE IN THE WATER were the staples of Komeda’s repertoire. The album’s centerpiece is Astigmatic, the title composition from his legendary album, some eight minutes long as compared to almost 23 minutes of the original recording. Then there is also music from Jerzy Skolimowski’s movies BARIERA and LE DAPART. Classy and stylish, faithful to melody and mood, Wojtek Mazolewski’s interpretations bring Komeda to the new generation of listeners with inventive arrangements spiced with elements of pop, bossa nova, folk, and a dash of hip-hop, drum’n’bass and electronics. The Wojtek Mazolewski Quintet are the leader on bass, Oskar Tortok on trumpet, Marek Pospieszalski, Joanna Duda on acoustic piano and Wurlitzer, and Qba Janicki on drums.
The cover art is by Rosław Szaybo, the famous graphic artist and painter who designed the cover of Komeda’s ASTIGMATIC. It was his last work before he died in May 2019 at age 85.

Mike Flynn, Jazzwise


Anna Filipieva, Jazz.Ru

Treskatresk: MAN IN THE SEA, Finito Bacalao

As soon as Russian pianist Andrei Kondakov met Norwegian saxophonist Ola Asdahl Rokkones, they knew their cooperation can bear some interesting fruit. For centuries, the most valuable Arctic sea resource, cod – “treska” in Russian – laid the foundation of the trade that kept the two Northern peoples in contact. “We live in a time when human relations across the borders are more important than ever”, stated Rokkones when he, Kondakov, drummer Jakop Janssønn and famed Russian acoustic bass virtuoso Vladimir Volkov provided music for this cooperative quartet effort and successfully toured Norway and Russia.

Jan Granlie, salt-peanuts.eu

Miles Davis: THE LOST QUINTET, Sleepy Night.

This was from a time when Miles Davis once again changed the nature of jazz. He looked ahead, something the fantastic record BITCHES BREW became a very good proof of. And the music here has a lot in common with BITCHES BREW. And you can notice it especially, if you first play IN A SILENT WAY, which came earlier this year, and then compare it with what we hear here and BITCHES BREW. Miles was on his way to something new! And even if Davis on BITCHES BREW involved a lot of musicians, this live recording can be considered as a kind of “Bitches Brew Lite”.