Tutu Puoane (RSA / BEL)

©Hugo Van Beveren

©Hugo Van Beveren

Tutu Puoane is one of the exciting voices on the European/South Africa jazz music scene today. Born in Pretoria, South Africa in 1979, she studied at the Music College of the University of Cape Town (UCT) before moving to Europe in 2002. She spent a year and a half at the Royal Conservatory in The Hague (Netherlands) and eventually moved to Antwerp, Belgium in 2004.

While living in Europe, her career grew steadily and she released eight albums as a leader or featured soloist: ‘Song’ (2007), ‘Quiet Now’ (2010), ‘Mama Africa’ (2011 - with the Brussels Jazz Orchestra), ‘Breathe’ (2012), ‘Live At The Roma’ (2013 - with the Royal Flemish Philharmonic and Bert Joris), ‘iLanga’ (2014), ‘The Joni Mitchell Project Live’ (2017) and ‘We Have A Dream’ (2018 - with Brussels Jazz Orchestra). Both ‘Quiet Now’ and ‘Mama Africa’ were awarded a South African Music Award (SAMA) for Best Jazz Album (in 2010 and 2011).

Tutu’s current band is a quartet with musicians from Belgium and The Netherlands. With this band, she
blends all the music that has influenced her into her own unique mix : soulful melodies, beautiful harmonies, lots of different grooves, exciting scatting... elements from African, European and American music traditions meet each other in the middle. One moment she uses her voice as an instrument, the next she sings an honest and heart-felt story. Her beautiful voice, intuitive ears, great sense of time and phrasing, combined with her natural charisma on stage, make every concert into a great experience.

Tutu Puoane makes you laugh, she makes you shed a tear, she makes you dance and sing along – she moves you in every way.

2019 will be the start of Breathe - a new project of the quartet.
Breathe and music are undeniable close to each other. Music and breathe save people. Music makes people breathe a little better during life’s experiences. Tutu Puoane Quartet’s Breathe will make you gasp by their intensity.

Tutu also performs in duo, quartet, with jazz orchestra and symphonic orchestra.


AdHd (IS)


Available for touring in July 2020


2 - 7 March 2021 in BENELUX & France

ADHD was the greatest discovery and artistic surprise of the Brussels Jazz Festival 2014
— Maarten van Rousselt – programmer Flagey & Brussels Jazz Festival, January 2014
A lazy, moody trip so captivating that gives you the feeling to lay naked in Blue Lagoon. Mindblowing!
— Danny Theuwis – 30CC Leuven (BEL), October 2015
ADHD’s jazz is hard to label – it is a mixture of melancholy, jazz rock and ambient that carries you in a delightful, inspired hypnotic trip. Highly recommended!
— Brendan Burny - programmer CultuurCentrum Mechelen (BEL) - October 2015
ADHD… an unusual line up of great musicians overwhelms with their mix of jazz, blues and rock. Their live performance is one long emotional trip with references to the past, present and future of what jazz was/is/can and hast to be.
— Laurent Pitsi - programmer CC Hasselt (BEL) - October 2015

All based in the greater Reykjavík area, ADHD is a four-piece band that consists of four old friends and colleagues. The four of them have been working together in various projects and bands for more than a decade (and even a little bit longer than that…). In 2008 it was decided that it would be a good idea to put together a band, which is ADHD, and play a few shows in Iceland.  The chemistry between the four players was immediate and the following year their debut album, self-titled adhd, won them stellar reviews, as well as “Jazz-album of the year” at the Icelandic Music Awards.

Now, three albums after that (adhd2, adhd3 and adhd4, which all got great reviews, nominations for the Nordic Music Prize, etc. ), and after extensive touring in Europe and Iceland, ADHD are finishing and releasing their 5th album in collaboration with Contemplate-music in Berlin, on the 31st of October. adhd5 was recorded in Sundlaugin Studios by Ívar Ragnarson. Ívar also mixed the record and it was mastered by mr. Haffi Tempó.

The record contains 8 songs that were written all over the place; a few were written in January this year when the band had a few days off on a European tour and got to spend those days close to Bad-Meinberg in Germany at a very good friends house. Others were written in the studio or at some home or…The songs are a very dynamic mixture of a lot of elements; melancholic at times, cheerful, soft, loud and everything in between.

ADHD performances an organic event and therefore the band decided to record this album live, to reflect the live performances.

ADHD are:
Óskar Guðjónsson: Saxophones
Ómar Guðjónsson: Guitars, Bass
Thomas Jonsson: Piano, Hammond, Synths, Bass etc.
Magnús Trygvason Eliassen: Drums, Percussion

The members of ADHD are very active in both the Icelandic music scene, as well as abroad.
Their collaborators include amiina, Jim Black, Wadada Leo Smith, Skúli Sverrison, Sören Dahl Jeppesen, Tómas R Einarsson, múm, Ragnar Kjartansson, Sin Fang, Samúel Jón Samúelsson and many many others.

Three of the four members have also released their own solo albums which received great reviews.


References BENELUX

  • 2015: Flagey - Brussels, 30CC - Leuven, KC Nona & CC Mechelen - Mechelen, CC Hasselt/Muziek-o-Droom

  • 2017: Tivoli-Vredenburg - Utrecht, De Doelen - Rotterdam, Flagey - Brussels, Muziekgebouw Enschede, CC De Spil - Roeselare

  • 2019: Lantaren-Venster - Rotterdam, Flagey - Brussels, KC Nona & CC Mechelen, Bimhuis - Amsterdam, Handelsbeurs - Gent

Spessi (from AdHd6). Recorded at Grindavik family session


Jacob Karlzon Trio

Open Waters

The first notes are cautious, respectful, aware of the emotions to carne. Slowly a melody emerges, a gentle wave, drums breathe softly in the background before you find yourself running towards the sounds of the sea. "Open Waters" is the name of this song by Jacob Karlzon and it is hard to resist his call to the deep. The piano evokes a sea you can al most see, smell and hear. A sea that suddenly grabs you, pulling you in until you're in "Open Waters" and at the mercy of elemental farces bath fascinating and dangerous.

The Swedish jazz pianist and composer Jacob Karlzon likes such interpretations of his music. He creates music for the inner film in his head. This latest album was recorded in January and he says: "l'm happy when people interpret my music this way. 1 really do want to take them emotionally out to sea, into a situation where they have to decide in which direction they want to swim."

The album carne about in a very intuitive way preceded by a long period of reflection. With Marten Ramsbil on bass and Rasmus Kihlberg on drums, Karlzon recorded this album, like previous ones, in the Nilento Studio in Göteborg with his producer Lars Nilsson.

"Note to Self perfectly embodies my intuitive way of working" explains Karlzon "by just letting things happen". The song is a note to self, written in twenty minutes. lt's a contemplation of his own subconscious, of the melody driving his thoughts and feelings at the piano just at that moment. "At the end I asked myself: Where did that carne from?"

Every creative person has had moments like this and knows how addictive they can be. ''That's where 1 wanted to go" says Karlzon. "When you make music professionally for years, you might start to think a bit toa technically and sometimes forget the kick these moments can give".

The way it feels is as if something higher or something deeper is playing through you, a note to self that you don't have to decipher on your own, but with the people who are listening to you or playing with you. lt's a crazy energy" he says and when you find yourself immersed in his "Open Waters", you'II have to agree with him. The nine songs on the album all contain this energy, even if they have been re-worked, produced, compressed or digitalised.

Stylistically and musically, Jacob Karlzon is a well-travelled man. He's a classica! pianist but has shared a stage with big nam es in jazz such as Kenny Wheeler, Norma Winstone, Billy Cobham among others. He forayed into the world of heavy metal with his album "More", 2012, and in his last album "Naw", he allowed electronic elements to set the pulse. No wonder he prefers to describe himself as an alternative musician.

"Look What You Made Me Do", from "Open Waters" illustrates his development. lt begins with a powerful drumbeat followed by the piano with an atmospheric theme before gradually, in tandem with the bass becoming more and more erratic. In the final thrusts of the song you are thrown back and forth with a force unusual for this genre.

Karlzon loves such moments of surprise, whether it comes while listening to the whole album, or du ring one of his concerts, or with a song that has wormed its way onto a playlist.

"The best thing that can happen to you as an artist is to play for people who didn't know your music before but who are then willing to engage with it."

To really feel what Jacob Karlzon wants to teil us, it's enough to listen to "How it Ends" or "Ever Changing" or "Panorama" or because it's so fitting, "Motion Picture".

Let Jacob Karlzon provide the score for your inner film and be taken on a very surprising journey.

Line up:

Jacob Karlzon - piano, synths, fender rhodes
Morten Ramsbøl - bass
Rasmus Kihlberg - drums

Available in Summer and Fall 2020.

In collaboration with Qrious.

dominic miller

Dominic Miller


Een prachtplaat
— http://www.jazzenzo.nl/?e=4149 - Mathijs van den Berg
This record will appeal to Miller fans, to Sting fans, to existing fans of any of the other members of the band, and to new listeners who are already aficionados of ECM’s fine output of chamber music.
— https://londonjazznews.com/2019/04/30/cd-review-dominic-miller-absinthe/ - Jane Mann
Although the compositions on Absinthe can be seen as light-footed at first glance thanks to their simple beauty, they are clearly more than pure entertainment thanks to an extremely successful, imaginative and highly professional realization, namely exactly the kind of cheerful pieces of music of which there are far too few, because they immediately appeal to the listener and carry him away.
— https://www.highresaudio.com/en/review/dominic-miller-absinthe

With Absinthe, guitarist Dominic Miller has created an album colored by a distinct atmosphere. “The first thing that came to me before I wrote any tunes was the title,” he writes in his liner note. “Living in the South of France, I am fascinated by Impressionism. Sharp light and witchy mistrals, combined with strong alcohol and intense hangovers must have driven some of these artists toward insanity. Skies that are gree, faces blue, perspective distorted.” While Miller’s ECM debut, Silent Light, emphasized solo and duo settings, Absinthe finds the guitarist fronting a quintet that brings his lyrical compositions to textured life. Miller, switching between nylon- and steel-string acoustic guitars, has found a key harmonic-melodic foil in the bandoneon of Santiago Arias. The vivid presence at the drum kit is Manu Katché, for years a member alongside Miller in the band of Sting. Mike Lindup’s keyboard tones can glow or add a ghostly air (as they do in such highlights as the title track), while bassist Nicholas Fiszman roots the ensemble sound. As for Miller, JazzTimes has described him as a guitarist who “milks every note, thriving on the pauses between them and whispery effects of fingers sliding across strings.”  

            Not only was Absinthe conceived in the South of France, that’s also where Miller and band recorded the album, working with Manfred Eicher in the studio of La Buissonne, in Pernes-les-Fontaines. The ambience was ideal, Miller says: “It’s a great atmosphere in which to work. And I love collaborating with Manfred – he’s a real producer. I think back to the inspiring authenticity of those records he made with Egberto Gismonti. They were so important to me…

“For my two ECM albums, and especially this new one, my initial idea of a tune can be like a simple selfie,” Miller explains. “But once we’re done working on it together, the piece becomes this rich photographic still, with all the light and shade of life in it. Manfred helps bring out the essence of the music, often pushing us out of our comfort zones in the process. But I’m up for it – we rethought, redesigned and reinterpreted every tune in the studio. I’ve made about 250 pop and rock records over the years, and that’s often a process about achieving so-called perfection. But Manfred isn’t after this kind of perfection.”

Born in Argentina to an American father and Irish mother, Miller was raised in the U.S. from age 10 and then educated there and in England. The guitarist’s international mindset has only been deepened through decades touring the globe, working with the likes of Paul Simon, The Chieftains, Plácido Domingo and, most often, Sting. Miller has long been known as the latter’s right-hand man on guitar – and co-writer of “Shape of My Heart,” among others. “I’ve been influenced by Sting’s lateral sense of harmony and how he forms songs,” the guitarist says. “I try to do the same by creating a narrative with instrumental music, which I treat and arrange as songs, with verses, choruses, bridges. I’ve absorbed a lot from him about concept and arrangement, as well concision in telling a story.” 

Miller heard Katché’s rhythmic/coloristic touch in his ear for decades, while Fiszman plays in the guitarist’s current live group. The simpatico match of drums and bass here is highlighted by their exchanges in “Ombu,” a track named for a tree in Argentina with vast roots. Miller only recently discovered Arias, having encountered him in Buenos Aires. “I was on tour there and I went out on a night off to see a jam featuring some top local musicians. They were all pointing out this young bandoneon player. Witnessing Santiago play – this acoustic, non-tango indigenous Argentinean music, mixed with European influences – I felt a spark. I wrote the music of Absinthe with the timbre of his instrument and his sense of space in mind.”

Arias’s bandoneon plays a vital role throughout the album, whether atmospherically in such pieces as the shadowy “Ténèbres” or as a soloistic voice in “Saint Vincent.” The title of the latter song refers not to Van Gogh but to the late Cameroonian guitarist Vincent Nguini, a longtime collaborator with Paul Simon and something of a mentor figure for Miller. “Vincent had such a special ‘time feel,’ as drummers like to talk about,” he says. “With the way he used time, you could hear that it was him from just a few notes.”

            The title track of Absinthe begins with Miller’s hands fingering the nylon strings of a small-body guitar with his characteristic “artisanal precision,” as the Irish Times put it. After two minutes of melodic development with just guitar and bandoneon, Katché’s beat comes in strikingly, boosted by Fiszman’s deep bass. The piece immediately takes on the drama of a story, with Lindup’s synthesizer line whirring subtly through the arrangement like a specter, adding something otherworldly to the narrative. “I wanted the synth to add a disrupting element, like an absinthe-induced wooziness,” Miller explains. “I’ve known Mike for years and trust implicitly what he can bring to my music, whether it’s a touch of off-kilter synth or flowing piano, as on ‘Etude’ and ‘Verveine.’ The latter song, by the way, is named for a kind of herbal tea they have in France that I like. It’s supposedly good for hangovers, so I guess the old painters might’ve used it as a calming antidote after the visions of absinthe.”

ABSINTHE Cover.jpg

Line up:

Dominic Miller: guitar

Santiago Arias: bandoneon

Mike Lindup: keyboards

Nicholas Fiszman: bass

Manu Katché: drums

Laura Perrudin by Nicolas Joubard

Laura Perrudin (FR)

Available for touring in BENELUX & Holland - in collaboration with Colore Production

Availability on request

Could we just say we LOVE the amazing Laura Perrudin and her superb album Impressions. Go listen!
Un projet très surprenant.
— France Bleu
It is stunning to listen to the thousand games of atightrope artist, her cheerful and spontaneous radicalism, definitely modern.
— Les Inrocks
She expresseds her whiole musical milieu with great dexterity (…) builds a unique world, all combined : Laura Perrudin suggests a though, a universe, a being.
— Le Monde
It’s rather as if Björk had chanced upon Herbie Hancock in a Dublin pub, before a John McLaughlin concert.

Distinguished as early as 2015 by Le Monde, the BBC, FiP Radio and Les Inrocks for her first album Impressions, Laura Perrudin is back with Poisons & Antidotes, to be released on September 22th 2017. Mastered by Valgeir Sigurðsson at Greenhouse Studio in Reykjavík (Björk, Feist, Camille, Damon Albarn...), this pop UFO flirting with electronica, neo-soul and experimental folk, relies on a unique instrument : an electric chromatic harp. Lending her voice to the sound experimentations she is so fond of, Laura creates a powerful personal universe that wonderfully materializes in her surprising live performances, where she gets to play around with the arsenal of a perfect geek (laptops, sound-effect pedals and multitrack loopers). 

Laura Perrudin's career has been both unusual and eclectic. Brought up on a diet of jazz from childhood, her classical music studies led on to both electronic and traditional music, via soul and hip-hop, through her encounters with innumerable musicians, in her native Brittany, but also in Paris and New York.

Her mission is to open up the possibilities of the harp to a richer harmonic language, and it was in 2008 that she finally found the key, when harp-maker Philippe Volant custom-built for her a chromatic pedal-less harp with a single row of strings. This innovative instrument has allowed her to give free rein to the sinuous harmonies of her unclassifiable compositions.

The last three years have been marked by important stage experiences and awards :

Talent Jazz Adami 2017, 2nd prize at the 'Montreux Jazz Voice Competition' 2014, prize for composition in the National Competition at 'La Défense Jazz Festival' 2013… She performed in places and festivals like Théâtre du Trianon (Paris), New Morning (Paris), Montreux Jazz festival, MaMA event (Paris), Paris Jazz fetsival, Jazz on Vienne, London Jazz festival, Enjoy jazz festival (Germany), Bratistlava Jazz days… but also in Ireland, Rio de Janeiro, Netherland, Ukrain, China and Taïwan.

Poisons & antidotes - Live by Laura Perrudin


Songs of the Low Lands

Tripod‘s first project dives into the song repertoire of the Low Lands.
Tripod selected the most beautiful songs that gather Flanders and Holland: from Raymond to Ramses, from De Craene to De Groot. And less well-known pearls from a.o. Jules De Corte and Walter De Buck.
Tripod makes instrumental jewels of these songs with much attention for improvisation and unpredictable harmonization. This combined with a large instrumentation makes Songs of the Low Lands a winner project. And suprisingly recognizable.

Tripod is the new band of  Frank Vaganée (saxophones, flute), Hendrik Braeckman (guitar & gear) and Jos Machtel (valve trombone & double bass): three established personalities from the BENELUX jazz scene who knows each other from the Brussels Jazz Orchestra but also from various small bands. Tripod wants to lift chamber music jazz a level higher by using, amongst others, an extended instrumentation. Tripod chooses for popular melodies in a new harmonization: a familiar feeling but typical Tripod. These three gentlemen will guarantee you virtuosity, fine workmanship and originality.

Playlist: Twee Meisjes & Gelukkig Zijn (Raymond van het Groenewoud), Amsterdam (Kris De Bruyne), De Appels op de Tafelsprei (Toon Hermans), Margootje (Wim Sonneveld), Neerhof (Lieven Coppieters), Ik wil deze Nacht in de Straten verdwalen (Wannes Vandevelde), Ik zou wel eens willen weten (Jules De Corte), Meisjes van 13 (Paul Van Vliet) 


Frank Vaganée: saxophones, flute
Hendrik Braeckman: guitar & gear
Jos Machtel: valve trombone, double bass

References: C-Mine - Genk, Jazz au Fil de l'Eau - Luik, Jazz Zottegem, CC De Kruisboog - Tienen, CC De Leest - Izegem