Erik Truffaz Quartet live at BMW Welt Jazz Award 2012

Erik Truffaz, trumpet
Benoit Corboz, piano
Marcello Giuliani, bass
Marc Erbetta, drums
recorded live at BMW Welt, München, January 22, 2012

1. Arroyo
2. The walk of the giant turtle
3. Tic Toc

Wie so viele Aktivposten der Pariser Jazz-, Rock- und Popszene stammt der Trompeter Erik Truffaz ursprünglich nicht aus der französischen Hauptstadt. Der gesamte frankophone Kosmos von Afrika bis Asien, vom Maghreb bis zu einst eng verbundenen osteuropäischen Ländern trifft sich jedoch hier zum kreativen Austausch.

Den gebürtigen Schweizer Erik Truffaz kann man inzwischen mit einigem Recht den Miles Davis der Pariser Szene nennen. Nicht nur wegen seines ätherischen Trompetensounds, sondern auch, weil er sich wie die amerikanische Legende immer wieder neu orientiert und ein überzeugter Vertreter des Kollektivgedankens ist. Die Band steht bei ihm im Mittelpunkt,
ob er sich nun akustischen oder elektronischen Klängen, klassischem Jazz, Jazzrock oder NuJazz widmet. Mehr als die Summe der Teile ist auch sein seit 1997 bestehendes Quartett mit Marcello Giuliani am Bass, Marc Erbetta am Schlagzeug und Benoit Corboz am Klavier.

Solal-Pedersen-Duo live at Berliner Jazztage 1976

Martial Solal: Piano
Niels Henning Ørsted-Pedersen: Bass
Berlin, Philharmonie, November 3, 1976

1. Bemsha Swing (Thelonious Monk)
2. Note-ability (Martial Solal)
3. Afternoon`s Sentiment (Niels Henning Orsted-Pedersen)
4. Lalos (Martial Solal)
5. Donna Lee (Miles Davis; Charlie Parker)
6. The Continental (Con Conrad; Herbert Adolph Magidson)

In 1976 these two European giants recorded "Movability" for the legendary MPS label. I have no idea, if this must have lp was ever re-released on cd.

Vijay Iyer live at 32nd Leverkusener Jazztage 2011

Vijay Iyer, piano
recorded live at Forum, Leverkusen, November 6, 2011

1. One For Blunt
2. Imagine

About Vijay´s album "Solo" I wrote earlier on this blog. Accelerando is the follow-up to the Vijay Iyer Trio's Grammy-nominated Historicity – voted the No. 1 jazz album of 2009 around the world, including in the Downbeat critics' poll and by The New York Times
Vijay Iyer's career has moved on an ever-accelerating arc over the past decade and a half, with the Indian-American artist earning a slew of international honors for his intrepid, multi-hued vision of 21st-century music. The latest chapter of this compelling story in contemporary jazz comes with the Vijay Iyer Trio's Accelerando, an album driven by the visceral, universal, intoxicating experience of rhythm. Accelerando sees Iyer and his telepathic trio mates – bassist Stephan Crump and drummer Marcus Gilmore – go both deep and wide. They light up material that ranges from a brace of bold Iyer originals and pieces by great jazz composers (Duke Ellington, Herbie Nichols, Henry Threadgill) to surprising interpretations of vintage and recent pop and funk tunes (Michael Jackson, Heatwave, Flying Lotus). Absorbing and infectious, this is jazz about not only the mind but the body.

Kurt Elling Quintet live at Leverkusener Jazztage 2011

Kurt Elling, Vocals
John McLean, Guitar
Laurence Hobgood, Piano
Clark Sommers, Bass
Ulysses Owens, Drums
Recorded live at Forum Leverkusen, November 2011

1. Stepping Out
2. Dedicated To You (Saul Chaplin/Sammy Cahn/Hyman Zaret)
3. Samurai Cowboy (Mark Johnson/Kurt Elling)
4. Norwegian Wood (John Lennon/Paul McCartney)
5. After the love has gone (David Foster/Jay Graydon/Bill Champlin)
6. The Waking (Rob Amster/Kurt Elling /Theodore Roethke)
7. Golden Lady (Stevie Wonder)

I already introduced Kurt´s latest CD "The Gate" to you earlier on this blog. On Nightmoves, his brilliant debut for Concord Records and seventh outing overall, Elling artfully blends his rich baritone voice with signature scatting and virtuosic vocalese in a wide-ranging repertoire of tunes associated with such greats as Frank Sinatra, Antonio Carlos Jobim, Irving Berlin, Betty Carter, Duke Ellington, Dexter Gordon and Keith Jarrett. His most ambitious undertaking to date, it features his working trio of bassist Rob Amster, drummer Willie Jones III and longtime creative partner, pianist-arranger Laurence Hobgood, along with such special guests as The Escher String Quartet, bassist Christian McBride, Yellowjackets tenor saxophonist Bob Mintzer, guitarist Guilherme Monterio, keyboardist Rob Mounsey and harmonica virtuosos Howard Levy and Gregoire Maret.

Kyle Eastwood Quintet live at Leverkusener Jazztage 2011

Kyle Eastwood – bass
Jim Rotondi – trumpet
Andrew McCormack – piano
Graeme Blevins – saxophone
Martin Kaine - drums
Recorded live at Forum Leverkusen, November 2011

1. Tonic
2. Cosmo
3. Marakesh
4. Letters From Iwo Jima
5. Café Calypso

Kyle Eastwood’s record, Metropolitain, was released in June 2009 in the US. It was recorded in Paris and includes collaborations with some of the artists he admires most on the current scene: drummer Manu Katche, trumpeter Till Bronner, French star vocalist Camille and pianist Eric Legnini.
Co-produced by Erin Davis (son of Miles) and Kyle’s long term writing partner Michael Stevens, the album captured the attention of the jazz world with its forward thinking style and the gathering of some of the cream of today’s jazz musicians.
When he is not on tour, Kyle spends much of his time between Paris and Los Angeles and is very much at home in France, so it was natural to look there for an ideal place where he and his musicians could relax for a few days and allow their creative juices to flow. Such a place turned out to be the fabulous 15th Century Couronneau in Ligueux, deep in classic Bordeaux country, and Songs From The Chateau was born. To capture the authentic sound of the all star band Kyle has on display, producer Crofton Orr and the engineering of Simone Griva were enlisted. Also on board was long time collaborator Michael Stevens (co-writer with Kyle on the scores for films including Changeling and Gran Torino).
The record itself contains more than a casual nod towards France, Kyle’s second country. The opener Marciac, scene of the famous jazz festival where Kyle played in 2010, gets the programme underway in impressive fashion as drummer Martyn Kaine ushers in authoritative and fluent solo contributions from the two Graemes (Flowers and Blevins, on trumpet and saxophone, respectively), whilst the admirably atmospheric Moon Over Couronneau shows off the impressive talents of pianist Andrew McCormack. This is in turn underpinned by Kyle himself, who then comes to the fore on Aperitif – a sharpener that goes down very smoothly, in the best sense of the word.
Around Kyle, the band is tight through the album, and inventive highlights abound. The vivacious and aptly named Café Calypso sees Blevins getting deeply into the Caribbean grooves with his jaunty and spirited saxophone. The reflective tone of Soul Captain has some tasty McCormack piano complemented by Blevins’ soprano. Andalucía is descriptive, enhanced by Kyle’s virtuostic solo and hypnotic bass figure, permeated by the haunting trumpet of Graeme Flowers.
Flowers’ flugelhorn and Kyle’s stylish bass lead again on Over The Line while the album finishes with a fond reminiscence of you-know-who, Down At Ronnie’s. The band confidently struts its stuff with a highly charged dialogue between the horns, bringing to a close what may well be the best of Eastwood’s albums to date.

WDR Big Band feat. Maceo Parker live at Leverkusener Jazztage 2011

Maceo Parker - alto saxophone, vocals
Christian McBride - bass
Cora Coleman-Dunham - drums
Michael Abene - Leitung und Arrangement
Johan Hörlén, Karolina Strassmayer, as
Olivier Peters, Paul Heller, ts
Jens Neufang, bs
Wim Both, Rob Bruynen, Andy Haderer, Klaus Osterloh, John Marshall, tp
Ludwig Nuss, Marshall Gilkes, Christophe Schweitzer, tb
Mattis Cederberg, b-tb
Frank Chastenier, p, keys
Paul Shigihara, g

recorded live at Forum, Leverkusen, November 2011

1. Come On , Maceo
2. Inner City Blues (Marvin Gaye)
Soloists: Maceo Parker, as; John Marshall, tp
3. Kissing My Love (Bill Withers)
Soloists: Paul Shigihara, g; Maceo Parker, as
4. Higher Ground (Stevie Wonder)
Soloists: Maceo Parker, as; Marshall Gilkes, tb
5. Do Your Thing (Isaac Hayes)
Soloists: Paul Shigihara, g; Maceo Parker, as
6. Rock Steady (Kenneth Edmonds, Bo Watson, Antonio Reid, Dwayne Ladd)
Soloists: Maceo Parker, as; Frank Chastenier, org
7. One In A Million (Larry Graham)
Soloists: Maceo Parker, as
8. I Wish (Stevie Wonder)
Soloists: Maceo Parker, as; Cora Coleman-Dunham, dr
9. Papa´s Got A Brand New Bag
Soloists: Paul Heller, ts; Maceo Parker, as
10. Come By And See (Maceo Parker)
Soloists: Karolina Strassmayer, as
11. Soul Power (James Brown)

On Roots and Grooves, legendary James Brown sideman Maceo Parker delivers a double-disc album that focuses on the saxman's musical origins and most famous compositions. Side B is a funkier affair saluting Parker's time with Brown, George Clinton, and Bootsy Collins, with rearrangements of his originals including "Off the Hook," "Uptown Up," and "Pass the Peas." But it's his affectionate eight-song tribute to Charles augmented by the world-renowned WDR Big Band that brings to mind the late singer's award-winning big-band performances. Hammond B3 organist Frank Chastenier leads the charge for a stunning instrumental take on "Hallelujah I Love Her So," while Parker proves all too capable of handling Charles' trademark vocals on "You Don't Know Me" and "Hit the Road, Jack." While his take on "Georgia on My Mind" comes off like Muzak, Parker delivers a dynamite "What'd I Say" that would've made Brother Ray proud.

Four years after the concerts recorded for Roots and Grooves, Maceo and WDR Big Band rejoined for a soul party at the Leverkusen Forum.

Tingvall Trio live at 32nd Leverkusener Jazztage 2011

Martin Tingvall · piano
Omar Rodriguez Calvo · bass
Jürgen Spiegel · drums
recorded live at Forum, Leverkusen, November 6, 2011

1. Vägen
2. Hajskraj
3. Snarestad Folksvisa
4. Tuc-Tuc Man
5. Efter Livet

Tingvall Trio create melodies so beautiful that they would be hard to trust if they weren’t so disarmingly authentic. They alternate with eruptive flashes of energy in which Jazz and Rock are cheerily blended. The music suggests images almost instantaneously, whether it’s Scandinavian landscapes shrouded in fog, waves crashing in the surf or lifelike character studies.
Their latest CD "Vägen" was released in 2011 on skip records.

Rebekka Bakken live at enjoy jazz, Mannheim 2011

Rebekka Bakken: voc
Börge Petersen-Överleir: g
Rune Arnesen: dr
Lars Danielsson: b
Mathias Leber: p
recorded live at Alte Feuerwache, Mannheim, November 12, 2011

1. Same Kind
2. Never Been To Paris
3. September
4. Powder Room Collapse
5. Forever Young/ Jed Vet En Hvile
6. Any Pretty Girl
7. Hard To Be A Loser
8. After All
9. Girl Next Door
10. No Easy Way
11. Der Schnee draussen schmilzt
12. Driving

If it was up to Rebekka Bakken, people would not talk about her music, but rather just listen to it. The singer-songwriter with the deeply touching three-octave range is an “Anti Drama Queen” – a restless soul and at rest within herself at the same time. Constantly pondering and appeasing, she does not like to have people make a fuss about herself or her art. “I need the music more than it needs me”, she says accordingly. “I like to put everything to life in my music. It’s no big deal.” Hearing is feeling is living, when it comes to this emotional artist. But maybe it is also because her songs are so poetic and meaningful and her melodies speak so clearly and beautifully, that the curiosity to find out what is behind them is so enormous. With her fifth album the Norwegian singer, who was living in New York and Vienna for a long time and now makes her home on a horse-farm in Sweden, continues her “American series”. Produced in close collaboration with Malcolm Burn in Kingston, New York, the twelve self-confident and straightforward songs of “September” present themselves as one of the most beautiful, Country-influenced song-albums of our time. Brilliantly sung, sensually and lusciously played, these songs about love, life, lust and misery – the oldest topics in the world – always seem up to date. Their sound already is so unique and original, that even the three cover-versions of songs by Bruce Springsteen, Jane Siberry, and Alphaville, fit perfectly with Bakken’s own new compositions. This music touches, on many levels. “Communication”, as Rebakka Bakken says, “is so much more than words.”

Eumir Deodato & Band live at 32nd Leverkusener Jazztage 2011

Eumir Deodato – keys
Daniele Gregolin – g
Piero Orsini - b
Marco Maggiore – dr
Giorgio Palombino – perc

recorded live at Forum, Leverkusen, November 6, 2011

1. Skyscrapers
2. Rhapsody in Blue
3. Super Strut
4. Also sprach Zarathustra
5. Do It Again

Widely regarded as one of the most respected and sought-after musicians in the music world, Brazilian-born Eumir Deodato has racked up 16 platinum records to his credit as artist, arranger or producer with combined sales of well over 25 million records in the USA alone. His discography, including compilations and all his work as arranger, producer and keyboardist, surpasses 450 albums. He has also had the honor of performing with the St. Louis Symphony (which backed him on his superb Artistry album), the Cincinnati Symphony, the New York Philharmonic and the Orchestra di Musica Leggera dell'Unione Musicisti di Roma. In addition, several artists over the years have covered his songs, including George Benson, Lee Ritenour, Sarah Vaughan and The Emotions to mention just a few. And yet, in spite of all of his varied triumphs, honors and distinctions over the years, the multi-talented, multi-instrumentalist will probably forever be associated with one song - his innovative rendition of Richard Strauss' classical opus Also Sprach Zarathustra (or more commonly known as the theme to 2001: A Space Odyssey).
That single compelling song, which first appeared on his 1973 debut album for CTI Prelude, sold at least five million copies and earned Deodato his first Grammy Award, instantly moved him to international stardom and setting a course for his remarkable ongoing career in music. Thirty years later, that same tune has found its way into the repertoire of the jam band Phish, a testament to Deodato's enduring influence.

ACT Jubilee Night live at Muffathalle, München February 2012

Céline Bonacina (baritone sax)
Nils Landgren (tb, voc)
Lars Danielsson (b, vc)
Verneri Pohjola (tp)
Michael Wollny (p, el-p)
Leszek Możdżer (p, el-p)
Nguyên Lê (g)
Wolfgang Haffner (dr)
recorded live at Muffathalle, München, February 3, 2012

1. Dodge the Dodo (Esbjörn Svensson)
2. Pasodoble (Lars Danielsson) Lars Danielsson & Leszek Możdżer
3. Sleep safe and warm (Krzysztof Komeda) Leszek Możdżer
4. Svantetic (Krzysztof Komeda) Michael Wollny & Leszek Możdżer
5. Stars in your eyes (Herbie Hancock) Nils Landgren, Michael Wollny, Lars Danielsson, Wolfgang Haffner
6. Lonely Dancer (Michael Wollny) Céline Bonacina, Michael Wollny, Lars Danielsson
7. Zig Zag Blues (Céline Bonacina)
8. Silent Way (Wolfgang Haffner) 

Whoever thought jazz is a marginal branch of music meant for small cellar pubs was disabused at the ACT jubilee concerts during the first week of February 2012. In celebration of the 20th anniversary of the Munich label, jazz visited the impressive concert halls in Germany. Around 4.500 people followed its call and experienced during the four concert nights how the spotlight was turned on jazz. ACT all-star ensemble consisting of nine musicians thrilled the audience at the Philharmonie in Berlin (KMS), Muffathalle in Munich, Tonhalle in Düsseldorf and Laeiszhalle in Hamburg in a performance that according to the German magazine BUNTE was “a world class session with the very best of jazz”. The newspaper DIE WELT was greatly impressed after the final concert in Hamburg on the 5th February and spoke of “a magnificent programme and a storm of applause”. Fortunately, the NDR had decided beforehand to record the concert. Therefore, the ACT family celebration on stage will be available on a double CD which is released on the 27th April for a special price (2 CDs for the price of one).
Siggi Loch’s journey has followed a trajectory all of its own. After stumbling across the music of Sidney Bechet at the age of 15, he formed a band and began dreaming of running his own jazz label. Half a century ago he was among the R&B fans getting a first taste of The Beatles at the Star Club in Hamburg. Soon afterwards he produced some of the first tracks by the pop group The Searchers as he embarked on a career as a talent-spotter, producer and major label executive.
It is, of course, his own jazz company, ACT, which has become his primary passion – along with his ever-expanding collection of contemporary art, examples of which adorn many of the album sleeves. If much of the jazz world now resembles a sterile, hermetically sealed museum, Loch clings to the quixotic notion that the music has to surprise, to stir – and sometimes to shock.
Never shy of speaking his mind, he worries that too many of today’s compositions sound “constructed not composed”. The past is important, but why be enslaved by it? “Musicians have to work their audience,” he told me. “Just like in rock and roll. They’re not living in an ivory tower.” Does that mean a pursuit of the lowest common denominator, Kenny G with a Bavarian accent? Not at all, as ACT’s 20th anniversary tour demonstrated. While there may have been Arctic conditions on the streets outside the venues on the Jubilee Concert tour, musical director Nils Landgren set about creating a piping-hot summation of the label’s history, performed by the members of the ACT Family Band.
Polish pianist Leszek Możdżer indulged in playful duels with his German counterpart Michael Wollny. Pensive French-Vietnamese guitarist Nguyên Lê channelled the spirit of Jimi Hendrix with a little help from Denmark’s Cæcilie Norby. Finnish trumpeter Verneri Pohjola added will o’ the wisp cameos elsewhere, while the diminutive French player Céline Bonacina – almost dwarfed by her baritone sax -- unleashed one fiery solo after another. The musician who remains the symbol of ACT’s act was, of course missing. But Esbjörn Svensson – who died in a scuba-diving accident four years ago – was remembered as the cast gathered for a moving finale. Here’s to the next twenty years.

Rolf Kühn & TRI-O feat. Joachim Kühn live at JazzBaltica 2011

Rolf Kühn - Clarinet
Joachim Kühn - Piano
Ronny Graupe - Guitar, Electronics
Johannes Fink - Bass
Christian Lillinger - Drums
Jazzbaltica Salzau, July 3, 2011

1. Mamarazzi (Rolf Kühn)
2. Lifeline (Rolf Kühn)
3. Auf Tauris (Ronny Graupe)
4. Changing The Umbrella (Joachim Kühn)
5. Spacerunner (Rolf Kühn)

Blättert man in der von Maxi Sickert vorgelegten und im Rahmenprogramm von Enjoy Jazz 2009 auch vorgestellten Kühn-Biografie „Clarinet Bird“, dann staunt man nicht schlecht, hat dieser Musiker doch eine – zumal für deutsche Verhältnisse – ganz exzeptionelle internationale Karriere hingelegt. Entdeckt wurde der in Köln geborene Rolf Kühn Ende der 1940er Jahre in Leipzig, ging dann erst in den Westen und bereits 1956 in die USA, wo er mit Oscar Pettiford, im Benny Goodman Orchestra, aber auch mit Ornette Coleman spielte. Es folgten Free Jazz- und Fusion-Experimente, Filmmusiken, Engagements beim NDR und als Musicaldirigent und immer wieder Aufnahmen mit seinem viel jüngeren Bruder Joachim. Dass Rolf Kühn am 29. September 2009 seinen 80. Geburtstag feierte, wird zudem kaum glauben können, wer die sehr dynamische, swingende, melodiöse und auch ins Freie drängende Musik hört, die der Klarinettist an der Seite ganz junger Musiker der Berliner Szene wie Christian Lillinger, Ronny Graupe, Johannes Fink spielt. Die kristalline Klarheit seines Tones auf dem gemeinsam eingespielten und beim Berliner Jazzwerkstatt-Label erschienenen Album „Close Up“ zeugt von ungebrochener Abenteuerlust und zeigt keinerlei Berührungsängste gegenüber jugendlichem Sturm und Drang.

Minton's Playhouse Allstars live at Berliner Jazztage 1971

Art Blakey: Drums
Al McKibbon: Bass
Thelonious Monk: Piano
Sonny Stitt: Alto Saxophone
Kai Winding: Trombone
Dizzy Gillespie: Trumpet
Berlin, Philharmonie, November 4, 1971

1. Blue `n` Boogie (Dizzy Gillespie)
2. `Round midnight (Thelonious Monk)
3. Lover Man (Roger "Ram" Ramirez)
4. Tin Tin Deo (Dizzy Gillespie)
5. Tour de force (Dizzy Gillespie)
6. A Night In Tunesia (Dizzy Gillespie)

"When George Wein managed to assemble this musical "dream team" in 1972, it received little publicity. After all, Jazz at the Philharmonic was long gone and Wein's Newport Jazz Festival had practically been brought to a halt by destructive young vandals at its original site in Rhode Island. The American public's ears were increasingly attuned to, on the one hand, rock, and, for those a bit older, country and western music. And the few remaining jazz fans were following Miles and "Bitches Brew" into fusion territory. As a result, the bona fide giants of the music, the masters who had been responsible for the bebop revolution of the late '40s, were struggling for audiences and recording contracts. Even Art Blakey's Jazz Messengers ("No fusion for us," Art said. "Jazz is acoustic, and traditional or modern, we're all about mainstream swing.") As a result, all of Art's '70s recordings were made outside the U.S. and few of them were digitalized and released on disc.
To his credit, Wein sensed an opportunity to pry these American masters away from their respective groups and individual commitments and, for at least two years, had them touring before ecstatic, receptive audiences throughout the world (with the exception of their native U.S.). 

So these are giants in a land of giants--before they became extinct. The entire concert is a joy from start to finish, almost a painful reminder of the beauty we once took for granted."

Thelonious Monk live at Berliner Jazztage 1969

Thelonious Monk, piano
Berliner Jazztage November 6, 1969, Philharmonie, Berlin

1. Satin Doll (Duke Ellington; Billy Strayhorn)
2. Sophisticated Lady (Duke Ellington)
3. Caravan (Duke Ellington; Juan Tizol)

Monk primarily played his own compositions with his quartet, but occasionally performed covers, too. Especially the music of the great Duke Ellington had a special impact on Monk. In 1955 his album "Thelonious Monk Plays Duke Ellington" was released as his debut for Riverside. The choice of Ellington as the 'theme' composer was evidently made by producer Orrin Keepnews and the Riverside label, but it was nevertheless significant. Ellington was (and is) arguably the most important American jazz composer of his generation and with Louis Armstrong and Count Basie, he had been one of the most popular and successful performers and recording artists of the Thirties and Forties.

And the show goes on...

Well, some of you, especially ‪Descris‬, ‪jakdolesa‬, ‪12tone4ever‬, ‪giù‬ and Slidewell did a really great job in reposting some of the concerts and I´m really grateful for this, you´re really great! I appreciate your support and I want to encourage you to go on.
Like I said before, I won´t do the re-ups, but there´s some more new stuff to come, so, stay tuned!

Cæcilie Norby Group live at JazzFest Berlin 2011

Cæcilie Norby vocals
Katrine Gislinge piano
Lars Danielsson bass
Per Gade guitar
Morten Lund drums
Nils Landgren trombone, vocals

recorded live at Haus der Berliner Festspiele, Main Stage, November 4, 2011

1. Both sides now (Joan R. Mitchell)
2. Dead Princess (Maurice Joseph Ravel)
3. Wholly Earth (Abbey Lincoln)
4. The Tears of Billie Blue (Claude Achille Debussy)
5. Scheherazade (Nikolai Rimski-Korsakow)
6. Bei mir bist du scheen (Sholom Sholem Sucunda)
7. Cuban Cigars (Lars Olof Danielsson)
8. No Air (Eric Satie)

Danish singer Cæcilie Norby was born into a musical home. Her mother, an opera singer, and her father, a composer, supported her musical education from an early age. Jazz was not her first love, though. After a classical education she turned to pop music in the early eighties and had some considerable success with the band OneTwo.
Ten years later the renowned Blue Note label released her self titled jazz debut, starring none other than Chick Corea. For later productions she cooperated with the likes of the Brecker Brothers, Terri Lyne Carrington, Nils Landgren or Palle Mikkelborg.
Her latest cd, Arabesque, shows yet another of her facets, reminiscent of composers like Satie, Debussy, Ravel and Fauré. Together with her recent ensemble, the IFPI (International Federation of the Phonographic Industry)-awardee will once again leave the boundaries of classical music, jazz or pop behind.