I Will Be Right There: Ida Sand CD / Vinyl (LP, 180g) / digital  Ida Sand vocals, Wurlitzer, piano Ola Gustafsson guitars, banjo, pedal steel Jesper Nordenström Hammond organ, synthesizers Per Lindvall drums, percussion Dan Berglund electric and double bass Pablo Cepeda percussionCompletely unpretentious, approachable and free of affectation – yet possessing the glamour of a diva in the very best sense: in the 20 years since her ACT debut, Meet Me Around Midnight, Swedish singer, pianist and songwriter Ida Sand has become one of European soul-jazz’s most loved artists, without ever making a fuss about herself and always keeping the focus firmly on the music. Whether entirely on her own with just voice and piano, or on the biggest stages alongside Nils Landgren or the SWR Big Band, it is Ida Sand’s warmth and authenticity that touch her audiences. And, of course, her smoky, sonorous voice, recognisable from the very first note.These same qualities – her authenticity and soulfulness – are also what make the music on Ida Sand’s new album, I Will Be Right There, so compelling. Listening to it really does feel just as the title suggests: as though Ida Sand were singing, at that very moment, for you alone. “The songs on the album are the result of my own introspection and reflections on the relationships in my life, and what it means to be in healthy dynamics with others,” says Ida Sand. “I wanted to put into words, how I value responsibility and intention in relationships, and how we sometimes need to sharpen our communication and intuition when interacting with other people.”The album’s musical ingredients range from soul, rhythm and blues, folk and Americana. Although Ida Sand often moves within the world of jazz, the songs dispense with extended solos and improvisations. Instead, it is the small, spontaneous embellishments and variations, the subtle swing of many of the grooves and the harmonic depth of the songs that gently point towards jazz. Alongside seven of Sand’s own compositions – including two versions of the title track – ranging from moving ballads to fiery, groove-driven numbers, the album also features interpretations of two classic songs: Massive Attack’s darkly shimmering “Teardrop” and the English-language version of Jacques Brel’s “Ne me quitte pas”.What unites all the album’s songs is Ida Sand’s distinctive musical personality – and the virtuosity of her fellow musicians. Yet that virtuosity is expressed not through instrumental excess, but through quite the opposite: remarkable rhythmic ease and impeccable judgement when it comes to dynamics, sound and phrasing. The album was recorded virtually live in the studio, often in just one or two takes and with hardly any overdubs – simply because there was so little to correct or add. There is a good reason for this: the core band – guitarist and Ida Sand’s husband Ola Gustafsson, drummer Per Lindvall and organist Jesper Nordenström – consists of some of Sweden’s most internationally renowned studio musicians. Bassist Dan Berglund already provided the musical foundation for e.s.t. Esbjörn Svensson Trio; here, playing electric bass, he once again acts as a unifying and grounding presence.One thing is clear: Ida Sand is a people person, someone for whom family and community matter deeply – both in her private life and in music. For her, it is not about ego or self-promotion, but about creating something together that enriches the lives of others. Or, as she puts it: “People who need people are the luckiest people in the world, sang Barbra Streisand so beautifully, and I couldn’t agree more.”CreditsAll songs written by Ida SandExceptions: Track 7 (Del Naja/Vowels/Marshall/Fraser) and Track 9 (Brel/McKuen)Mixes by Andreas Dahlbäck (#1, #3, #4, #6, #10), Carl Gustafsson (#2, #5, #7, #8, #9)Recorded in Rixmixningsverket by Vilma Colling (#1, #3, #4, #6, #10),Atlantis Metronome by Carl Gustafsson (#2, #5, #7, #8, #9)Mastered by Klaus ScheuermannProduced by Ida SandPhotos by Nikola Stankovic

Jazz at Berlin Philharmonic XIX : Nils Landgren 70 CD / limited red transparent double vinyl (2xLP, 180g) / digitalNils Landgren vocals & trombone Michael Wollny piano Lars Danielsson double bassWolfgang Haffner drums China Moses vocals (3-7) Magnus Lindgren direction, arrangements, tenor saxophone & flute Mitglieder der Berliner PhilharmonikerSarah Willis, horn Stephan Stadtfeld, trumpet (guest) Guillermo Serrano Marchena, trumpet Jonathon Ramsey, trombone Jesper Busk Sørensen, trombone Angus Butt, bass-trombone (guest) Alexander von Puttkamer, tuba Backing vocals on “Ain’t Nobody”Viktoria Tolstoy, Ida Sand, Jessica Pilnäs, Cæcilie Norby, Johan NorbergOn 15 February 2026, trombonist and singer Nils Landgren celebrated his 70th birthday in suitably grand style: with the lavish orchestral album Love of My Life and a tour of Europe’s leading concert halls. Siggi Loch, founder of the ACT label and Landgren’s long-standing supporter and friend, gave him a very special present: an evening in his curated concert series Jazz at Berlin Philharmonic, held in the main auditorium of the Berlin Philharmonie. During the first half of the concert, members of the ACT family paid tribute to “Mr. Red Horn”. After the interval, Nils Landgren himself took to the stage to rapturous applause, presenting an exclusive programme dedicated to his great idol, friend and musical companion Joe Sample. He was joined by Michael Wollny, Lars Danielsson, Wolfgang Haffner, China Moses and members of the Berliner Philharmoniker, performing arrangements by Magnus Lindgren. The concert became a soul-jazz celebration in the temple of classical music, and by the end, no one remained in their seats. Liner notes by Nils Landgren Somewhere back in 2025, Siggi Loch called me and invited me to perform in his “Jazz at Berlin Philharmonic” program in connection with my 70th birthday. That’s an invite one does not say no to, although I had to give it some thought before accepting the challenge, at least 10 seconds. I really loved the idea of pairing fine jazz musicians with the outstanding brass players from the Berlin Philharmonic, arranged by multitalented Grammy winner Magnus Lindgren.My wish was to invite singer China Moses to complete the setup, and to our luck, she gladly accepted the challenge. Siggi and I started to make our wish list, and very soon we decided on songs with a personal connection to me, once being part of Joe Sample’s world. Simply songs we love. Magnus delivered first-class arrangements, and the concert was a mind-blowing experience, with an amazing group of musicians, a fantastic audience, and a record company on their toes, recording the event just in case it turns out good. I believe it did.Thank you, Siggi, and everyone involved, for this once-in-a-lifetime experience! Love, NilsLiner notes by Siggi LochNils Landgren is a phenomenon, and European jazz is all the richer for his presence. By performing more than 200 concerts a year, he more than earns the title of “the hardest-working man in the business.” On 15 February 2026, he turned 70.“Mr Red Horn” has carved out an enduring place in jazz history through his tireless excellence in so many different roles: as bandleader, composer, producer, talent scout, festival director, and also as a highly effective and authentic advocate for the music – who nonetheless always manages to remain approachable.Ever since his first appearance at JazzBaltica in 1994, German audiences have been taking him and the bands he leads to their hearts; he is now easily one of the most popular jazz musicians in our country. The very first time I heard him perform, I was totally captivated, and signed him as one of the first exclusive artists on the fledgling ACT label. It was through him that Esbjörn Svensson and many other great Swedish artists joined the label, making his influence on its evolution both central and unique.With over 60 albums to his name, he is also our most successful artist. I am therefore infinitely grateful to Nils Landgren, not only for his contribution to the success of ACT, and thereby to the fulfilment of my childhood dream, but also for the steadfast friendship which binds us. Organizing a special Jazz at Berlin Philharmonic concert with him to mark his 70th birthday was something particularly close to my heart. When I first phoned Nils with the idea to dedicate the evening to his idol – later his collaborator – Joe Sample, I remember there was a moment of silence from the other end of the line.Then, as Nils so often does, he ended the silence with: ‘If you think it’s a good idea, I’ll do my best.’ And, as always, that’s precisely what he did. There was a buzz throughout the hall before Nils had even played a single note, and by the end of the evening, the entire Philharmonie was on its feet. Mission accomplished, we made it happen!Siggi LochCreditsMusic by Joe Sample, lyrics by Will Jennings, except 07 and 08 by Nils LandgrenRecorded live on 05 May 2026 at the Berliner PhilharmonieLive sound by Jan UgandRecorded, mixed and mastered by Klaus ScheuermannCurated and produced by Siggi LochCover photo by Steven Haberland, design by Siggi LochPhotos by Steven Haberland (back cover), Stefan Rabold (booklet)

Adam Bałdych: Endless CD / Blue transparent Vinyl (LP, 180g) / digital Adam Bałdych violin, renaissance violin Daniele di Bonaventura bandoneonJacob Karlzon piano Michel Benita double bass At the start of his career, Adam Bałdych astonished audiences and critics alike with his breathtaking virtuosity, quickly earning a reputation as the most outstanding jazz violinist of his generation. Today, he directs his formidable musical skills and his inexhaustible mastery of different timbres towards creating music of great depth and spirituality. On Endless, he explores questions that are both existential and deeply personal: What is true? What is of real importance? And, when the noise of the world falls silent, what is left? At a time when people find their very essence being called into question, often struggling to to remain visible and relevant amid constant change, Bałdych’s music stands out because it offers a different perspective: this is all about concentration, sustainability and trust.For several years, Adam Bałdych has been developing an aesthetic which could be described as “contemplative violinism.” What he offers listeners through his instrument, is not spectacle, but rather a space for pause and reflection. His music is like a wordless prayer, with the emphasis on humility and openness. The bow touching the string becomes a gesture of devotion, each and every pause is a space in which one can hear more than sound. This is violin-playing that makes no attempt to vanquish silence; what it does instead is to allow the silence to speak. For his new quartet on Endless, Adam Bałdych has brought together a group of particularly strong and individual musical personalities: Italian bandoneonist Daniele di Bonaventura, French double bassist Michel Benita, and Swedish pianist Jacob Karlzon. This constellation of astonishing individuals creates a space where fascinating encounters happen naturally and inevitably– between different cultures, sensibilities, and perspectives. Endless was recorded live in the concert hall of the Krzysztof Penderecki European Centre for Music in Lusławice – a place where the architecture of sound meets the architecture of silence. The space and the live situation leave a tangible imprint on the album’s music: one hears the air, the movement of the bow, the moment of stillness before a piano note enters. The music emerges from the borders of the inaudible, as if the artists were asking: How much sound is needed to bring the music to life while preserving the silence?Perhaps this is the reason why the sounds of Endless, it seems, have not in any way come to an end with the album’s final note. They persist, they echo – and they invite us to keep revisiting this unique musical space again and again. CreditsRecorded on January 7–8, 2026, at the Krzysztof Penderecki European Centre for Music in Lusławice Recorded, Mixed and Mastered by Mateusz Banasiuk Composed by Adam Bałdych except 11 (Erik Satie) Produced by Adam Bałdych Photos by Wiktor FrankoCover art by Manfred Bockelmann, used by kind permission of the artist

Emma Rawicz: Paintbox - ACT Exclusive ReleaseCD / limited blue transparent vinyl (180g) CD and vinyl includes 3 bonus tracks not available in digital format.Emma Rawicz tenor and soprano saxophoneElliot Galvin pianoKevin Glasgow electric bassAsaf Sirkis drums, percussion01 Cowboys & Aliens02 A Wide, Wide Sea03 Waldeinsamkeit04 Walking On Grass05 Quirky06 The Oak Tree07 Honeydew Ginger 08 DuendeThis album is available exclusively in physical format – only through the ACT Shop. The digital release is a selected EP with 5 tracks; the complete album with the full tracklist is available only on CD/LP.Liner notes by Emma Rawicz Paintbox is a record that evolved directly out of my first release with ACT Music, and for that reason it feels particularly special to be releasing it now, three years later. The release of Chroma in 2023 was a turning point that sparked a new and exciting phase of international touring, from which I have learned so much. The music on Paintbox is the direct result of the past three years on the road with my quartet, deepening our connections with each other and exploring new ways to truly play and create together. I feel that there is an unmistakable aspect of joy within this music, which truly reflects the atmosphere both on the road and in the studio with these brilliant musicians. We began this journey as colleagues three years ago, and now I’m pleased and proud to call Asaf, Kevin and Elliot my close friends.I wrote this music with an awareness that it was the beginning of some new and unknown chapter, and because I wanted to explore new colours and stories with these musicians as we went out on tour internationally. Chroma was an exploration of colour within music and its expression for me, and I wanted to take this visual element further with pieces that told stories or evoked strong images for the listener. Every piece on Paintbox is a story in its own way: some describing fantastical scenarios with cowboys, aliens and elves, others describing oceans, trees, forests, or even nostalgic scenes from my childhood in Devon. Each is intended as a springboard for the imagination of each individual listener and I hope that you can find your own stories within the music.Chroma was inspired by the Greek word for “colour”; this subsequent album takes its name from an alternative translation of that word: “paint”. For me, this is inherently linked to the idea of play and creation, and the joy that permeates what we do. I am immensely grateful to Elliot, Kevin, Asaf, Sonny, Klaus and all my close friends who helped this album come to life.EmmaCreditsRecorded on 23 and 24 March 2026 at Livingston Studios, LondonRecorded by Sonny JohnsMixed and mastered by Klaus ScheuermannComposed by Emma Rawicz Produced by Emma RawiczPhotos by Pedro Velasco (recording session), Gregor Hohenberg (Emma Rawicz)

Jazz at Berlin Philharmonic XVIII: Jazz Goes Baroque CD / Vinyl (LP, 180g) / digital  Bernd Lhotzky harpsichord and musical director Emile Parisien soprano saxophone Frédéric Couderc flutes Henning Sieverts double bass and violoncello Eric Schaefer drums Like all of the very best and most successful conjurors and magicians, pianist/composer Bernd Lhotzky never runs out of tricks. His most recent two albums for ACT could not have been more different, and yet both have been garlanded with important awards. His most recent, the solo piano album Rag Bag (2024) received the German Record Critics' Award, who praised Lhotzky for his “brilliant pianism” and his “effortless playfulness and fine sense of style”. Its predecessor As An Unperfect Actor (2021), new settings of Shakespeare sonnets by Lhotzky was built as a star vehicle for the great Austrian film and theatre actor Birgit Minichmayr. Lhotzky’s programme for her has had remarkable success both as an album and live. Indeed, the album led directly to an extraordinary consequence: the German Shakespeare Foundation (originally founded in 1864) decided for the very first time ever to give a prize to an actor...and awarded it to Minichmayr. The citation for the award is a fine testament to quite how brilliantly Lhotzky’s vision came to fruition on “As An Unperfect Actor”. It reads as follows: “Her singing sounded utterly effortless, and her musicality and depth were deeply moving.”Jazz Goes Baroque is different again. It is a live recording derived from a special concert which was a two-fold celebration. On the one hand, it was the fiftieth concert in ACT founder Siggi Loch’s very popular and hugely successful series Jazz at Berlin Philharmonic. On the other, it celebrated one of Loch’s earliest resounding triumphs as a fledgling record producer: George Gruntz’s hugely successful Jazz Goes Baroque from 1964. This was the Swiss musician’s first album in his own name, it sold very well, and paved the way for a unique and remarkable career in jazz. Six decades later, Bernd Lhotzky was commissioned to construct a programme to pay homage to the original 1964 record, but which would also depart from it. On the night, he directed proceedings from the harpsichord (as Gruntz had done on the record)…at a concert taking place a mere stone's throw from the Philips studio on Potsdamer Platz where the earlier recording had been made.The instrumentation involved in the top-flight group which played the concert also referenced the group which recorded Jazz Goes Baroque back in the 60s. In the earlier disc the main solistic role was given to Klaus Doldinger, an emblematic figure in German jazz from the 1960s onwards. In 2025, we find a pivotal figure in European jazz in his absolute prime with a similar function, Emile Parisien. We also find French flautist Frédéric Couderc, bassist/cellist Henning Sieverts and the endlessly inventive Eric Schaefer on drums, whose work here Lhotzky particularly admires: “The variety of colours, rhythmic ideas and different grooves he brings to the table is simply incredible.”Bernd Lhotzky, best known for his extensive knowledge of early jazz, has an unfailingly interesting approach to what can happen when jazz meets Baroque music, and his starting points are based on his own, highly personal musical observations and an uncanny intuition. In a melody by Bernardo Pasquini, he hears the voice of Sidney Bechet. A movement by Handel can call to mind the long, sweeping melodic arcs of Brahms. Behind an apparently effortless, flowing passage by Vivaldi, he revels in an intricate numerical game — and a wily corncrake carefully covering its tracks. In Couperin, a stumble becomes a fatal ‘chute fatale’; in Pachelbel, an ostinato figure that has been going round and round for centuries becomes a creature crying out plaintively for freedom. These arrangements, rather than deriving from historical observations, stem from vivid images — images that lend the works an unexpected sense of immediacy.For Lhotzky, the kinship between Baroque music and jazz lies in their shared delight in variation. Sequences, ostinatos and recurring patterns create a resilient framework within which musicians can communicate and move freely. “One hears what is revealed in conversation over the garden fence, in lively exchanges at the marketplace, in the warm dialogue of everyday life.” Monteverdi invited musicians to improvise over a basso continuo several centuries before the jam session was invented. For Lhotzky, jazz and Baroque therefore do not meet as opposites, but are related to each other. Jazz gives Baroque music new rhythmic energy and improvisational breadth; Baroque gives jazz historical depth, contrapuntal density and luxuriant, florid forms. The ideal of European harmony is another guiding idea for the group which performed at the Berliner Philharmonie. In his liner notes, Lhotzky describes it as “two wind players of French origin and a German rhythm section, happily united in music.” In this sense, Jazz Goes Baroque is also a reflection on the path European jazz has taken. By encouraging listeners to go back and hear the 1964 album, the 2026 version reminds us how, over the course of six decades, European jazz has developed its own language, its own heritage and its own distinctive characters. ACT has been, and remains, an important part of that story — and Bernd Lhotzky has written another surprising, brilliantly realised and joyful chapter in it.CreditsAll arrangements by Bernd Lhotzky Live recorded on 25 September 2025 at the Berlin Philharmonie Recorded by Klaus Scheuermann Mixed and mastered by Klaus ScheuermannProduced by Siggi Loch Cover art by Edi Rama, Untitled, 2016 Courtesy of Marian Goodman Gallery Design by Siggi Loch

Limited test pressings of the album by Julia Hülsmann Trio & Roger Cicero.Album: Past is Present: Good Morning MidnightRelease: 17.07.2026A rare collector's item: A test pressing is the very first sample disc of an album and is used for quality control before the final pressing. It does not always match the sound of the later release exactly, which makes each copy a distinctive collectible with its own history. Every test pressing is a limited edition: ideal for collectors and for anyone who appreciates jazz vinyl, rarities and exclusive editions.  Your ACT test pressing package includes:  1 Bio-Vinyl test pressing in its original white sleeve. A beautifully designed card, featuring hand-written key details about the release such as artist names, album title, production year, number of test pressings. Album booklet in PDF format. This sheet provides an in-depth look at the album and includes: The cover artwork, a thoughtfully written text about the album, tracklist, full credits for production and performance,  instrumentation details. Test Pressing Authentication Certificate. This certificate confirms the authenticity of this test pressing, which was produced as part of the quality control process before the final vinyl pressing. Test pressings are made in limited quantities to ensure the highest audio fidelity and manufacturing standards. Each test pressing is carefully inspected and approved by our team before production proceeds. This document serves as verification of its authenticity and uniqueness. For official validation, this certificate bears the company stamp.Please note: A test pressing is a preliminary version of the vinyl record used to evaluate the quality of the pressing before full production. The audio quality may not be identical to the final version and may include some imperfections inherent to the test process. It holds historical significance as part of the production process.

past is present | Julia Hülsmann Trio & Roger CiceroA curated ACT Music vinyl series in which the past becomes the present. Timeless recordings that don't just live on, they continue to speak in the now.Milestone albums on vinyl for the first timeLimited to 1,000 copies, each hand-numberedRemastered for vinylHigh-quality 180g pressing, black vinyl, lacquer cutLiner notes written exclusively for this edition Includes a collector's obi-strip on premium art paper Individually designed labels inspired by the original artworkA designed inner sleeve as a narrative cornerstone of the album printed on 180 gsm uncoated sulfate board past is present is ACT's curated deep dive into the label's rich catalogue, bringing outstanding recordings back into focus on premium vinyl. These are albums whose relevance has not faded – they still speak with clarity and emotional force today. Selected as part of ACT's musical heritage, each title appears either for the first time on vinyl or in a newly remastered edition, reaching the highest possible fidelity while honouring the original artistic vision. Every release is conceived as a limited, hand-numbered collector's edition, made for listeners who value both the sound and the object. The original cover artwork is preserved and elevated through refined production: a bespoke collector’s obi strip, newly commissioned liner notes, custom-designed labels and an individually designed inner sleeve – each part of a cohesive series identity and a premium vinyl experience. Good Morning Midnight (2006) closes Julia Hülsmann's ACT trilogy exploring poetry and jazz – after E. E. Cummings and Randy Newman, this time dedicated to Emily Dickinson, largely unknown in her lifetime and today regarded as one of America's most important poets. For the then little-known pianist, the series marked her step into wider public awareness and the beginning of a highly acclaimed international career. For vocalist Roger Cicero it was an important step into the limelight – soon after, he became a genuine pop star in Germany, before his one-of-a-kind story ended abruptly in 2016, at just 45. The contrasts could hardly be greater: urban-influenced jazz on one side, on the other the words of a poet who spent her life in seclusion in rural Massachusetts. Yet jazz works here less as a style than as a vocabulary, linking seemingly distant worlds. Carried by Hülsmann's trio with Marc Muellbauer and Heinrich Köbberling, coloured by subtle electronics, bandoneon and brass, Cicero finds a tone between curiosity and doubt, exuberance and introspection – “I've never sung anything like this before.” A wide arc between poetry and jazz, between the 19th and the 21st centuries – and a reminder that new music can be found not only in the present, but also in the past.

Limited test pressings of the album by Little North.Album: Crossing CurrentsRelease: 26.06.2026A rare collector's item: A test pressing is the very first sample disc of an album and is used for quality control before the final pressing. It does not always match the sound of the later release exactly, which makes each copy a distinctive collectible with its own history. Every test pressing is a limited edition: ideal for collectors and for anyone who appreciates jazz vinyl, rarities and exclusive editions. Your ACT test pressing package includes:  1 Bio-Vinyl test pressing in its original white sleeve. A beautifully designed card, featuring hand-written key details about the release such as artist names, album title, production year, number of test pressings. Album booklet in PDF format. This sheet provides an in-depth look at the album and includes: The cover artwork, a thoughtfully written text about the album, tracklist, full credits for production and performance,  instrumentation details. Test Pressing Authentication Certificate. This certificate confirms the authenticity of this test pressing, which was produced as part of the quality control process before the final vinyl pressing. Test pressings are made in limited quantities to ensure the highest audio fidelity and manufacturing standards. Each test pressing is carefully inspected and approved by our team before production proceeds. This document serves as verification of its authenticity and uniqueness. For official validation, this certificate bears the company stamp.Please note: A test pressing is a preliminary version of the vinyl record used to evaluate the quality of the pressing before full production. The audio quality may not be identical to the final version and may include some imperfections inherent to the test process. It holds historical significance as part of the production process.

Limited test pressings of the album by Vincent Peirani & Emile Parisien.Album: Past is Present: Belle EpoqueRelease: 12.06.2026A rare collector's item: A test pressing is the very first sample disc of an album and is used for quality control before the final pressing. It does not always match the sound of the later release exactly, which makes each copy a distinctive collectible with its own history. Every test pressing is a limited edition: ideal for collectors and for anyone who appreciates jazz vinyl, rarities and exclusive editions. Note on this copy (condition disclosure) This test pressing contains a minor sonic irregularity that we would like to disclose explicitly: on Side B, track B1, a faint, recurring knocking sound can be heard between approximately 0:30 and 1:00. Details like this are precisely why test pressings exist. This issue was identified during our quality control process, and the final production run was subsequently manufactured using a new stamper. As such, this copy captures an authentic moment in the production process and makes the path to the finished release audible. For collectors who appreciate the unique character of works in progress, this is not a flaw but a one-of-a-kind piece of production history. Your ACT test pressing package includes:  1 Bio-Vinyl test pressing in its original white sleeve. A beautifully designed card, featuring hand-written key details about the release such as artist names, album title, production year, number of test pressings. Album booklet in PDF format. This sheet provides an in-depth look at the album and includes: The cover artwork, a thoughtfully written text about the album, tracklist, full credits for production and performance,  instrumentation details. Test Pressing Authentication Certificate. This certificate confirms the authenticity of this test pressing, which was produced as part of the quality control process before the final vinyl pressing. Test pressings are made in limited quantities to ensure the highest audio fidelity and manufacturing standards. Each test pressing is carefully inspected and approved by our team before production proceeds. This document serves as verification of its authenticity and uniqueness. For official validation, this certificate bears the company stamp.Please note: A test pressing is a preliminary version of the vinyl record used to evaluate the quality of the pressing before full production. The audio quality may not be identical to the final version and may include some imperfections inherent to the test process. It holds historical significance as part of the production process.

Little North: Crossing Currents CD / Vinyl (LP, 180g) / digital  Lasse Jacobsen drumsMartin Brunbjerg Rasmussen double bassBenjamin Nørholm Jacobsen pianoFeaturing: Joel Ross vibraphone Hannes Bennich alto saxophone It is ten years since Little North released their debut recording, Yonder. The Danish piano trio’s new album Crossing Currents marks that anniversary and sees them fulfilling long-cherished dreams: not only does the new recording feature American vibraphone innovator and co-producer Joel Ross, it was also made in hallowed New York surroundings, The Bunker Studio in Brooklyn. And before entering the studio, pianist Benjamin Nørholm Jacobsen, bassist Martin Brunbjerg Rasmussen and drummer Lasse Jacobsen made sure that they took time to immerse themselves in the New York jazz scene and to draw inspiration from it. “For us, Joel Ross is quite simply the representative of that world,” says Jacobsen. “His approach is intellectually and spiritually clear, but also emotionally so. It is respectful, and he appreciates wonderful melodies. He has a particular kind of energy that doesn’t look back. And that is absolutely what we wanted on our album.”That energy also suited the trio’s second guest, Swedish saxophonist Hannes Bennich, whom Little North have known since their early days. “We had already worked with Hannes on other projects,” says Lasse Jacobsen. “In this case, he acted as a kind of "sparring partner" for Joel Ross. He brought his own energy, he’s a true virtuoso, and has real knowledge and affinity for the music that Ross stands for. At the same time, we needed someone who could step straight into a recording situation with confidence, and could contribute a musical voice that is entirely his own. Hannes was exactly the right person!”Crossing Currents creates a very special atmosphere which is defined by two things: the juxtaposition of contrasting characters and the interplay of European and American influences. A memorable hallmark of Little North’s ACT debut While You Wait was that they created a special magic by opening up their musical connectedness – grown and developed through their many years of working together – to a soloist. On that earlier occasion, it was the Norwegian trumpeter Oscar Andreas Haug. But here they have taken that a stage further: whereas Haug can be seen as an extension of the same musical world which the trio inhabit, Crossing Currents is about opening up to different energies, venturing out of one’s comfort zone, and being inspired by the spirit of the creative cauldron which is New York.The musicians’ openness towards one another, their mutual respect and regard are palpable and run like a strong thread through the album. Crossing Currents is an encounter on equal terms, sustained by alertness in listening to each other, and an intensity that can often be conveyed with no more than a few notes, harmonies or textures. This is particularly the case with the amount of space which the two harmony instruments – piano and vibraphone – allow each other. Pianist Benjamin Nørholm Jacobsen often lays the harmonic foundation, whilst Joel Ross plays finely nuanced melodies over it, frequently interwoven with the lines of saxophonist Hannes Bennich. And when the energy level increases, it happens collectively and with a shared intensity.Crossing Currents is never about one individual taking up a lot of space, but rather about balance, about sharing. The creative drive is strong, and yet there isn’t any pressure. There are different currents – but they flow together.CreditsRecorded 19-20 November 2023 at The Bunker Studio, Brooklyn, NYCRecorded by Nolan ThiesMixed by August WanngrenMastered by Sofia von Hage and Thomas Eberger at Stockholm MasteringComposed by Little NorthProduced by Little NorthCo-produced by Joel Ross

Daniel García: The Hero's Journey CD / Vinyl (LP, 180g) / digital Daniel García piano, synths, vocals, clapsSpain’s leading newspaper El País calls Daniel García Diego “one of the most exciting figures to have emerged from the world of contemporary jazz in the past decade.” Whereas the pianist is never an attention-seeker for its own sake – it simply doesn’t form part of his way of being – there are things which he does stunningly better than anybody else: his knowledge, respect and love for both jazz and flamenco go astonishingly deep, and he combines these two very different heritages fluently, effectively, indeed dazzlingly in his own music.That uniqueness makes him a pivotal, even an ambassadorial figure for Spanish jazz. He is indeed part of the story of why the scene has raised its profile in recent years. His three albums for ACT – until now recorded in his long-standing and joyously continuing trio with Madrid-based Cuban musicians Reinier el Negrón Elizarde and Michael Olivera – have all attracted superlatives: Travesuras (2019) was “something quite spectacular” (Jazz Journal, UK), Vía de la Plata was “important...essential” (Paris Move) and Wonderland (2025) was “brilliant and thrilling” (Latin Jazz Network). During late 2024, discussions started with ACT about what his fourth album project for the label might be. “When Andreas Brandis and Michael Gottfried came to me with the idea of a solo album, I really liked it.” The pianist promptly set to work composing, but it was not long before fate took a hand: in early 2025, Daniel García’s father was very unexpectedly diagnosed with incurable cancer, and continued to weaken, especially in his final months, before passing away in December 2025. So, virtually all of the composition and planning, and also the recording sessions – two afternoons and long evenings in June 2025 spent completely alone at the piano with his pre-recorded sounds at Camaleón Studios in Madrid – were happening at a time in which García and his family were living with grief, suffering in anticipation of the inevitable. Against that backdrop, it is unsurprising that The Hero’s Journey is imbued with astonishing depth of feeling throughout. And yet it isn’t a dark album in any way. As García explains: “For a long time I have been attracted by the hero figure – I’m not thinking at all about some invincible movie superhero, but rather the idea of a person constantly facing new challenges who needs to overcome them.” The pianist has been fascinated by the concept of archetypes and the ‘monomyth’ developed by Joseph Campbell in the book The Hero with a Thousand Faces. Campbell’s theory of a universal narrative arc effectively served as the blueprint for the Star Wars saga. “What I like about it is that this way of looking at the world tells that, at our core, we as humans are not different from each other.”That idea of dealing with challenges that come along, one by one, determines the structure of an album which is designed to be listened to as one continuous experience, and which will be performed live in concert from late 2026. “What I did was to put music with a different character to all of those stages. It’s about what I feel at each different stage, a reflection of my own journey.” That approach also suits the pianist well because he is such a musical omnivore: “I find it difficult to categorise my music. It’s like trying to put the sea in a box—it just overflows! I love classical music, I love Middle Eastern music, I love rock, I love singer-songwriters! Inspiration can come from anywhere!”In its 13 sections, The Hero’s Journey is one unified story which takes the listener through a wide range of experiences and moods. All of the tracks have a sub-text, examples of which are: the opener, Life in a Crystal Bottle, is about a simple, ordinary, innocent world in which nothing remarkable has yet happened. The fourth track, Meeting the Mentor, is an affectionate portrait of a gentle father figure, with delicate inner voicings indicating a safe place, and the enjoyment to be had at the piano. The tenth, toccata-like track, The Ordeal, is the only one in the set to be completely through-composed. It is about the inner strength, motivation and mobilisation that comes from having a strong internal engine. And the final track, The Resurrection, is about having come full circle...and being ready to face more new and unexpected challenges. There is a theme of self-reliance in the way in which the album has been made: all of the sounds which the listener hears have been fashioned by Daniel García Diego himself. “Everything is me,” he smiles. “It’s made in a way that I am going to be able to perform it live. That has been part of the purpose since the start.” Alongside the piano there are samples of pre-recorded clapping and also singing...and processed samples of the sounds of a looped and pre-recorded violin...or electronically generated samples from a Moog synthesizer. They are all very sparingly used, with the piano as main protagonist. Crossing the Threshold has particularly atmospheric use of these sounds, which García has used to portray the idea of finding oneself in a totally unfamiliar and alien world. The Hero’s Journey may have been created against a sombre backdrop, but it stands as a deeply optimistic statement about the nature of human resilience. CreditsComposed and produced by Daniel GarcíaRecorded at Camaleon Music Studio inMadrid, Spain, on 17 - 18 June 2025Mixed and mastered by Shayan FathiPhoto by Rob Lewis

past is present | Emile Parisien & Vincent Peirani: Belle ÉpoqueA curated ACT Music vinyl series in which the past becomes the present. Timeless recordings that don't just live on, they continue to speak in the now.First time on vinyl release Limited to 1,000 copies, each hand-numberedRemastered for vinylHigh-quality 180g pressing, black vinyl, lacquer cutLiner notes written exclusively for this edition Includes a collector's obi-strip on premium art paper Individually designed labels and inner sleeve, inspired by the original artworkA designed inner sleeve as a narrative cornerstone of the album, printed on coated art paper past is present is ACT's curated deep dive into the label's rich catalogue, bringing outstanding recordings back into focus on premium vinyl. These are albums whose relevance has not faded – they still speak with clarity and emotional force today. Selected as part of ACT's musical heritage, each title appears either for the first time on vinyl or in a newly remastered edition, reaching the highest possible fidelity while honouring the original artistic vision. Every release is conceived as a limited, hand-numbered collector's edition, made for listeners who value both the sound and the object. The original cover artwork is preserved and elevated through refined production: a bespoke collector’s obi strip, newly commissioned liner notes, custom-designed labels and an individually designed inner sleeve – each part of a cohesive series identity and a premium vinyl experience. Belle Époque by Vincent Peirani and Emile Parisien marks the beginning of one of the most compelling partnerships in contemporary European jazz. When the two entered the studio in 2013, their duo was still in its early days, yet the chemistry between them was already unmistakable. What followed was not only a remarkable recording, but the starting point of a journey that would take them to stages around the world.Inspired by the legacy of soprano saxophone pioneer Sidney Bechet, Belle Époque bridges eras and influences with striking elegance. The album moves fluidly between early jazz, French chanson, original compositions and modern improvisation, carried by Peirani's richly expressive accordion and Parisien's lyrical, soaring soprano. Together they reimagine this repertoire with both reverence and bold individuality, turning each piece into something vividly their own. At its heart, Belle Époque is a celebration of musical dialogue – two voices listening, responding and shaping a shared narrative in real time. The result is music of warmth, sophistication and depth, capturing the moment a singular duo found its voice. A defining recording, now rediscovered as part of past is present.

Limited test pressings of the album by Mahan Mirarab.Album: UnspokenRelease: 29.05.2026A rare collector's item: A test pressing is the very first sample disc of an album and is used for quality control before the final pressing. It does not always match the sound of the later release exactly, which makes each copy a distinctive collectible with its own history. Every test pressing is a limited edition: ideal for collectors and for anyone who appreciates jazz vinyl, rarities and exclusive editions. Your ACT test pressing package includes:  1 Bio-Vinyl test pressing in its original white sleeve. A beautifully designed card, featuring hand-written key details about the release such as artist names, album title, production year, number of test pressings. Album booklet in PDF format. This sheet provides an in-depth look at the album and includes: The cover artwork, a thoughtfully written text about the album, tracklist, full credits for production and performance,  instrumentation details. Test Pressing Authentication Certificate. This certificate confirms the authenticity of this test pressing, which was produced as part of the quality control process before the final vinyl pressing. Test pressings are made in limited quantities to ensure the highest audio fidelity and manufacturing standards. Each test pressing is carefully inspected and approved by our team before production proceeds. This document serves as verification of its authenticity and uniqueness. For official validation, this certificate bears the company stamp.Please note: A test pressing is a preliminary version of the vinyl record used to evaluate the quality of the pressing before full production. The audio quality may not be identical to the final version and may include some imperfections inherent to the test process. It holds historical significance as part of the production process.

Limited test pressings of the ACT debut album by Robinson Khoury.Album: TransaraRelease: 29.05.026A rare collector's item: A test pressing is the very first sample disc of an album and is used for quality control before the final pressing. It does not always match the sound of the later release exactly, which makes each copy a distinctive collectible with its own history. Every test pressing is a limited edition: ideal for collectors and for anyone who appreciates jazz vinyl, rarities and exclusive editions. Your ACT test pressing package includes:  1 Bio-Vinyl test pressing in its original white sleeve. A beautifully designed card, featuring hand-written key details about the release such as artist names, album title, production year, number of test pressings. Album booklet in PDF format. This sheet provides an in-depth look at the album and includes: The cover artwork, a thoughtfully written text about the album, tracklist, full credits for production and performance,  instrumentation details. Test Pressing Authentication Certificate. This certificate confirms the authenticity of this test pressing, which was produced as part of the quality control process before the final vinyl pressing. Test pressings are made in limited quantities to ensure the highest audio fidelity and manufacturing standards. Each test pressing is carefully inspected and approved by our team before production proceeds. This document serves as verification of its authenticity and uniqueness. For official validation, this certificate bears the company stamp.Please note: A test pressing is a preliminary version of the vinyl record used to evaluate the quality of the pressing before full production. The audio quality may not be identical to the final version and may include some imperfections inherent to the test process. It holds historical significance as part of the production process.

Limited test pressings of the album by Johanna Summer.Album: DialogeRelease: 29.05.2026A rare collector's item: A test pressing is the very first sample disc of an album and is used for quality control before the final pressing. It does not always match the sound of the later release exactly, which makes each copy a distinctive collectible with its own history. Every test pressing is a limited edition: ideal for collectors and for anyone who appreciates jazz vinyl, rarities and exclusive editions. Your ACT test pressing package includes:  1 Bio-Vinyl test pressing in its original white sleeve. A beautifully designed card, featuring hand-written key details about the release such as artist names, album title, production year, number of test pressings. Album booklet in PDF format. This sheet provides an in-depth look at the album and includes: The cover artwork, a thoughtfully written text about the album, tracklist, full credits for production and performance,  instrumentation details. Test Pressing Authentication Certificate. This certificate confirms the authenticity of this test pressing, which was produced as part of the quality control process before the final vinyl pressing. Test pressings are made in limited quantities to ensure the highest audio fidelity and manufacturing standards. Each test pressing is carefully inspected and approved by our team before production proceeds. This document serves as verification of its authenticity and uniqueness. For official validation, this certificate bears the company stamp.Please note: A test pressing is a preliminary version of the vinyl record used to evaluate the quality of the pressing before full production. The audio quality may not be identical to the final version and may include some imperfections inherent to the test process. It holds historical significance as part of the production process.

Robinson Khoury: Transara CD / Vinyl (LP, 180g) / Limited white vinyl (LP, 180g) / digital  Robinson Khoury trombone, modular synths, lead vocal in 6, 9Anissa Nehari percussions, voice in 6, 9Léo Jassef piano, synths, voice in 6, 9Trombonist/composer Robinson Khoury is one of the most prominent and visible rising stars on the French jazz and cross-genre scene. A charismatic live performer, his breakthrough came in 2024 with the album MŸA, featuring his trio with percussionist Anissa Nehari and keyboardist Léo Yassef. This group, in which Khoury plays not just trombone but also modular synths – he sings as well – became a tightly-knit and vibrant musical unit; the title of their debut album became the band name Robinson Khoury MŸA. This trio now takes centre stage on their ACT debut album, Transara.“I really like the unusual,” says Khoury. “Strange combinations, unexpected line-ups. Trombone, modular synths, keyboards and percussion...I’d never heard anything like it (!), and that’s exactly what fascinated me.” And there are other important affinities within the group: “I think that part of the reason we work so well together is because we share a Mediterranean heritage through our families – the Mediterranean connects us.” Equally formative, he explains, has been their life based in Paris, a world city where a wide variety of influences converge.For Khoury, Transara marks an important step forward. He describes the first MŸA album as having been a kind of “embryo” in which a musical entity was slowly taking shape, and that the trio has made huge strides since then. The three have become fluent in the musical language which they share. According to Khoury, their organic and intuitive music moves “into another world, another reality”. This progression is what the title Transara signifies: a transition between worlds, a connection of spaces and states.Robinson Khoury has had a fascinating, broad and transformative musical journey. Growing up in Lyon as the son of a jazz pianist and a jazz singer, music was ever-present right from the start. He sang in the highly renowned Maîtrise (children’s choir) of the Opéra de Lyon, and spent his summers at the Jazz à Vienne festival. The turning point came at the age of eleven, when his voice broke and he had to leave the choir. In search of a new form of expression, he discovered the trombone: “I was looking for an instrument through which I could continue to sing – and the trombone was perfect for that.” Just a few years later, he was studying at the Conservatoire in Lyon while also playing in jazz clubs. From an early age, he moved between classical and jazz, developing an openness to different styles.At around the age of 18, he also discovered Arabic music – singers such as Egyptian icon Umm Kulthum and South Asian legend Nusrat Fateh Ali Khan – and they left a lasting impression. Although Khoury has Lebanese roots, this music was not initially a natural part of his everyday life; all the more so, it felt like a direct form of expression for him on the trombone. “What I particularly love about Arabic music is the singing. Translating this onto the trombone felt very natural, as it is like a second voice to me.” Soon, musicians such as Ibrahim Maalouf and Natacha Atlas became aware of him, and invited him to join their bands. Khoury also founded the sextet Sarāb, which likewise blends Arabic music and jazz. All of these multiple sides of Khoury’s musical identity – jazz, Arabic music, the means to be expressive as an instrumentalist from his classical training, plus his love of singing and his motivation for change – find a reflection in Transara. The music is also a deeply-felt commentary on our times, constantly shifting between melancholy and warmth. “Given the state of the world around us, one cannot help but be pensive and melancholic,” says Robinson Khoury. At the same time, he says, his aim is to create a safe space where musicians and the audience feel secure and at ease, a place where feelings and thoughts can be shared. The track “Poussière” (dust) encapsulates all of this particularly well. Khoury explains that it is about the lives of all the people who “leave us too soon”. At the same time, there is a comforting perspective in this: “They haven’t simply vanished. The dust remains part of this planet; we breathe it in; it is a part of us.” And from this idea springs hope – the certainty that the past continues to have an effect and helps us to “continue to hope and to breathe”. CreditsRecorded in October 2025 at Studio Gil Evans, AmiensRecorded & mixed by Mathieu PionMastered by Pierre-Emmanuel MeriaudComposed by Robinson Khoury, except 8 (composed by Léo Jassef)Photo by Sylvain Gripoix

Johanna Summer: Dialoge CD / Vinyl (LP, 180g) / digital  Johanna Summer piano Claire Huangci piano Danae Dörken piano Kit Armstrong piano Igor Levit pianoIt was a very special experience. Pianist Igor Levit went on to describe it as one of the “most artistically fulfilling moments of recent years”. To be wandering through Robert Schumann’s familiar “Waldszenen” (forest scenes)... and then suddenly to veer off onto new and unexpected paths: that was what the audience at the 2023 Lucerne Piano Festival witnessed during the first onstage encounter of pianists Johanna Summer and Igor Levit. Levit played first, starting with the opening piece from Schumann’s cycle of Romantic piano pieces in its original form; Summer then responded by picking up the thread of each of these miniatures in turn and, with an improvisation based on what she had heard, gave a magical account of the places where her musical intuition can take her. Nothing about this evening had been planned; the dialogue between Schumann’s classic pieces and the variations which Summer based on them had complete freedom, everything happened in the moment...Johanna Summer’s collaboration with producer Andreas Brandis has been steadily building traction. Their first venture was a highly acclaimed solo album, "Resonanzen"; that was followed by "Cameo", a duo album with saxophonist Jakob Manz, and the concert in Lucerne became the catalyst for the new album "Dialoge" (dialogues). The context here is four duos. Each of them features Summer on one of two grand pianos, with another pianist – Claire Huangci, Kit Armstrong, Danae Dörken and Igor Levit – on the other. The objective is to create an open-ended conversation between tradition and the present, between composition and improvisation. As for the repertoire, Summer’s studio guests were encouraged to take as much liberty as they wanted. As the pianist explains: “I asked them to bring along pieces they have a real affinity with...which would make it fine when I added something extra.” Johanna Summer deliberately kept herself in the dark as to which pieces her co-performers had chosen, until they actually started playing. To keep a completely open mind towards the music, she even made sure she left the room while her colleagues were warming up before the recording. The element of surprise is important here. It gives rise to the enormously daring, dynamic effect that Dialoge leaves on the listener. It was particularly appealing for Summer to be able to immerse herself in her duet partners’ very personal musical choices. She explains: “With his Greek heritage, Danae chose a Greek focus, with compositions by Manolis Kalomiris and Mikis Theodorakis. Zhou Tian’s ‘Prelude’ was written specifically for Claire; the two have known each other since their student days. Igor, in turn, brought along ‘Andantino de Clara’, a piece written by Robert Schumann – which, given our shared history, was of course a perfect fit. And Kit brought a lot to the programme, but in an unconventional way with spontaneous quotes from his repertoire – ranging from the Renaissance to the Viennese Classical era.”The improvisational reworking of classical and contemporary works is far less common than improvisation on, say, jazz or pop standards. So Summer’s unusual approach has raised the hackles of some critics. For instance, following the pianist’s acclaimed performance at the Lucerne Piano Festival, an established classical music critic remarked that this way of engaging with the piano tradition “fits into our fake-obsessed present, in which the distinction between original and forgery is becoming increasingly blurred.” Johanna Summer herself is very clear on that point: she is not attempting to impose some kind of rebrand onto European classical music, and is certainly not doing what she does for effect. Rather, she is concerned to bring her own personal and deeply sincere perspective to the musical source materials. “What interests me most is to ask the question: What does this work really want to tell us?” I try to define what attitude and what energy are contained within it – and figure out how I am going to translate that into my own personal vocabulary, which is not drawn solely from classical music. It’s about recognising the essence of a piece for oneself and developing a way of interpreting it. In principle, that is what classical pianists do, they are interpreters. The most beautiful moments are those when you unexpectedly discover a little gem, whether it’s a lovely phrase or an unusual chord combination, and are completely spellbound for a moment. It reminds me of a feeling I used to have as a child. When I was tidying a cupboard, I would find a long-forgotten toy. Suddenly, in that moment, a whole cosmos of creativity unfolds.”Is this classical music? Is it jazz? Does it matter? Johanna Summer doesn’t see herself as a ‘jazz pianist’ – she’s simply a pianist. Piano icon Joachim Kühn, himself a great connector of genres and eras, describes what Johanna Summer does as ‘music full of imagination and beyond categorisation’. Whether she is improvising as a soloist, in a duo with classical musicians, or alongside musicians who cross genres naturally, such as Malakoff Kowalski or Chilly Gonzales, Johanna Summer’s musical imagination seems to know no bounds. Every encounter with the instrument and other musicians is a new beginning. And Johanna Summer is inimitable; she always ends up sounding entirely like herself. CreditsRecorded 19.06. and 23.07.2025 at Emil Berliner StudiosRecorded by Lukas KowalskiMixed and mastered by Emanuel UchProduced by Andreas BrandisPhotos by Gregor Hohenberg, Ilan HamranCover art by Małgorzata Szymankiewicz, Untitled 390, 2025,acrylic on canvas, 100 × 90 cmUsed by kind permission of the artist and

Mahan Mirarab: Unspoken CD / Vinyl (LP, 180g) / digital  Mahan Mirarab guitar, fretless guitar, oud Kian Soltani cello featured on #9,11, 5 Lars Danielsson bass featured on #7, 3 Golnar Shahyar vocals featured #8Unspoken, the ACT debut album from Mahan Mirarab, opens up a whole world of personal, deeply felt stories. The Iranian-born, Vienna-based guitarist draws on his experience of East and West, darkness and beauty, sorrow and joy. His music reveals perspectives which are profoundly human, intimate and sensitive, in album which is emerging at a time full of tensions and contradictions. He performs solo on the double-neck guitar and on some tracks is also joined by Kian Soltani (cello), Lars Danielsson (double bass) and Golnar Shahyar (vocals). His is a unique and personal musical journey: jazz blends with influences from classical and folk music from Iran, with European chamber music, imbued profoundly with the spirit of song.Mahan Mirarab was born in Tehran. He started playing piano and guitar as a child and, at the age of 14, joined a Pink Floyd cover band as a bassist. Through the Tehran underground scene, Mahan Mirarab came into closer contact with Western music such as jazz and progressive rock. Resources were scarce; the music was mainly learned recordings on black-market traded cassettes. Through these, Mahan Mirarab also discovered the music of American jazz musicians such as Bud Powell, Chick Corea and George Benson. He listened to their music so often that he could soon sing along to every single solo and eventually transcribed them for the guitar. All this was a considerable risk, as Mahan Mirarab recalls: “Owning music cassettes was a criminal offence. I had a friend who ended up in prison because of a copied jazz tape.” Yet Mirarab’s curiosity for this unfamiliar music burned brightly. One group in which he played in was a Weather Report covers band which mainly performed at events in embassies. The Austrian ambassador in Teheran was a huge Joe Zawinul fan and it was he who gave assistance to Mahan Mirarab – who had long since made it his aim to discover the (musical) world beyond his homeland – to leave the country. This is how Mirarab arrived in Vienna in 2009, and it is where he still lives today. Once he had moved to Vienna, Mahan Mirarab, who had previously studied architecture in Iran, made the decision not to pursue a degree in music. He preferred to get to know the scene, launch his own projects and, above all, play the music that suited him personally, far removed from institutional structures. In 2009, he recorded his first trio album, which explored jazz from a Persian perspective. This approach gradually gained him a foothold in the scene; he played concerts in local jazz clubs and at smaller festivals, and he was able to forge important contacts. His first international experiences followed, and eventually a joint project with his wife, the singer Golnar Shahyar, became an international success, with concerts worldwide and attention growing. At the same time, Mahan Mirarab felt increasingly that he could only hold his own if he was able to constantly demonstrate every facet of his skill as a musician and composer. This imperative was something which grew in him without his being fully aware of it. It was a kind of survival strategy for the new environment, but the effect was that he felt somehow driven to be constantly aspiring for perfection.When ACT director and producer Andreas Brandis first became aware of Mahan Mirarab, the musician promptly sent him a whole mountain of varied material to consider. But it was one small solo sketch that really clicked: “Among the tracks I’d sent to ACT was a ‘first idea’,” recalls Mahan Mirarab, “and Andreas Brandis and Michael Gottfried from the label said pretty quickly: ‘That’s the one, let’s delve deeper into this and produce a whole solo album together.’ That way of working was something that I found very liberating, like being given permission not to always need to show everything I can do, but simply being allowed to be myself.” Mahan Mirarab and Andreas Brandis met in person several times, including once in Paris. They also spoke a lot on the phone and discussed a host of solo ideas which ultimately formed the basis for the album Unspoken.It was during this collaborative process that the idea arose to invite guests for some tracks on the album. For example, the classical cellist Kian Soltani also hails from Iran. As Mahan Mirarab notes, there are also other important similarities between the two: “Kian is a perfect classical cellist, but he’s also a really good improviser, and a brilliant composer too. I wrote cello parts for him, and he completely rearranged them and brought a whole load of great creativity to the table.” Mahan Mirarab has long been familiar with bassist Lars Danielsson, even though the two only met in person recently. “I’ve known Lars since my time in Iran – I mean, from a recording with John Abercrombie. Later, I learnt many of his compositions, just for myself because I liked them so much. In both his compositions and his improvisations, Lars has this incredible awareness of dynamics, harmony and space in the music. It was important to me to get to know him as a person too. That’s why I flew to Gothenburg especially to make sure I could record with him in the same room. Although there was plenty of space there, we sat very close together – which made our playing together particularly intense and immediate.” The relationship with the singer Golnar Shahyar couldn’t be closer: she and Mahan Mirarab are also a couple in real life. Having spent a great deal of time together on stage and in the studio since 2011, they have focused more on their own projects in recent years. But there remains a special connection and affinity. Their great skill, deep familiarity and emotional empathy are palpable on the album. Indeed, there is not a shadow of a doubt: everything about Unspoken is personal. The tracks “Banoo” and “A Way to Mourn” tell the story of Mahan Mirarab’s grandmother, who passed away during the recording sessions. In the track “Jina”, the personal meets the collective: in Kurdish, the title means “life” and is inextricably linked to the young woman Jina Mahsa Amini, whose death in the custody of the Iranian morality police in 2022 sparked a nationwide protest movement. These were events that profoundly changed Mahan Mirarab. For a long time, he was unable to write about them; it was only working on Unspoken that gave him the courage to do so. “Sparkling” is Mahan Mirarab’s favourite track, penned by his wife Golnar, and the version of “In a Silent Way” is a nod to Joe Zawinul, whose influence once proved to be the opener of so many doors in his life. And the instrument Mahan Mirarab used to record Unspoken is also a bespoke, one-off creation by Turkish luthier Ekrem Özkarpat: a double-necked guitar with both a fretless and a fretted fingerboard. This instrument serves as a metaphor for the two worlds between which Mahan Mirarab has moved and which meet in his music: the Western world structured on semitones and the microtonal world of his native country.If one asks Mahan Mirarab how he feels about the current situation in Iran and how this is reflected in his music, he has to think about it for a long time. “It’s difficult to witness what’s happening right now from a distance. I lived in Iran for 25 years, have an incredible number of memories, and my parents and many of my friends still live there. That makes me very sad. But my connection to my country of origin isn’t a national one. Ultimately, it doesn’t matter where wars and conflicts take place – it’s always about people who feel the same way all over the world. I think it’s important to remain attentive, sensitive and empathetic, to reflect in some way on what is happening around us.” It is this human reflection on the world with all its inherent contradictions that makes Unspoken so unique, moving and fulfilling.CreditsMusic composed & arranged by Mahan Mirarab, except 6 (traditional folklore music from Mazandaran, North of Iran), 12 (Joe Zawinul), 8 (Golnar Shahyar), 10 (Andrey Babayev); cello lines in 5 and 11 arranged by Mahan Mirarab & Kian SoltaniProduced by Mahan Mirarab & Andreas BrandisA Way to Mourn & Lars in Isfahan recorded on December 4 at Tia Dia Studios, Mölnlycke, Sweden, by Åke LintonChoopan 42, Sparkling Dark Gaze, Weißensee, Jina recorded on January 12 at Westbahnstudios, Vienna, by Farhad KhanbilverdiSolo tracks recorded on December 14 & 28 at Creative Cluster, Vienna, by Mahan MirarabMixed by Christoph BurgstallerMastered by Klaus ScheuermannPhoto by Victoria NazarovaMahan performs on guitars built by Ekrem ÖzkarpatKian Soltani appears courtesy of Deutsche Grammophon Gesellschaft

Limited test pressings of the ACT album by Michael Wollny & Emile Parisien.Album: Freiheit Release: 29.05.2026A rare collector's item: A test pressing is the very first sample disc of an album and is used for quality control before the final pressing. It does not always match the sound of the later release exactly, which makes each copy a distinctive collectible with its own history. Every test pressing is a limited edition: ideal for collectors and for anyone who appreciates jazz vinyl, rarities and exclusive editions. Your ACT test pressing package includes:  1 Bio-Vinyl test pressing in its original white sleeve. A beautifully designed card, featuring hand-written key details about the release such as artist names, album title, production year, number of test pressings. Album booklet in PDF format. This sheet provides an in-depth look at the album and includes: The cover artwork, a thoughtfully written text about the album, tracklist, full credits for production and performance,  instrumentation details. Test Pressing Authentication Certificate. This certificate confirms the authenticity of this test pressing, which was produced as part of the quality control process before the final vinyl pressing. Test pressings are made in limited quantities to ensure the highest audio fidelity and manufacturing standards. Each test pressing is carefully inspected and approved by our team before production proceeds. This document serves as verification of its authenticity and uniqueness. For official validation, this certificate bears the company stamp.Please note: A test pressing is a preliminary version of the vinyl record used to evaluate the quality of the pressing before full production. The audio quality may not be identical to the final version and may include some imperfections inherent to the test process. It holds historical significance as part of the production process.

Michael Wollny & Emile Parisien: FreiheitACT Shop Exclusive!CD / Vinyl (LP, 180g)  Emile Parisien soprano saxophoneMichael Wollny pianoOn their new duo album, Michael Wollny and Emile Parisien invite listeners into a conversation shaped by trust, intuition and complete artistic freedom. Recorded in concert as part of the Bodenseefestival 2025, the album captures two singular musical voices meeting in a space where nothing is controlled, nothing is predetermined, and every gesture becomes a response to the moment.“Here, you are invited to witness one of our many conversations with Michael Wollny, in complete freedom and spontaneity. I feel the rare privilege of sharing this space with such an exceptional musician – someone with a profound sense of listening, where everything becomes possible. It is an honor to have met him and to be able to express myself in this way by his side, especially in the world we live in today. Thank you, Michael, for this passion and for your remarkable musical intelligence.” (Emile Parisien) “In this duo we neither control nor plan. We listen to what the music reveals, allowing it to lead us to places we could never have anticipated. It is a deep pleasure and an honor to experience these precious moments on stage with my friend, the one and only Emile Parisien, who magically opens all doors of perception and possibility. Thank you for being on this journey together, and sharing our mutual intuition of musical freedom – the ability to really play.” (Michael Wollny) Between Wollny’s profound sensitivity at the piano and Parisien’s fearless imagination on saxophone, the music unfolds as a shared act of discovery. Their dialogue is guided by deep listening: melodies appear, doors open, and unexpected paths emerge with striking clarity. What results is a rare encounter between two artists who allow the music itself to lead, revealing the beauty of spontaneity, friendship and mutual trust. CreditsRecorded on 26 May 2025 at Gnadenkirche Allensbach, presented by Bodensee Festival Recording & Sound Direction: Martin Pilger Recording Engineers: Yue Liu, Martin Pilger Mastered by Klaus ScheuermannPhotography: Jörg Steinmetz Cover art © Katja Strunz, Courtesy Contemporary Fine Arts Design by Siggi Loch A production of Südwestrundfunk, 2025 The concert was recorded at 26. JAZZ am SEE Allensbach in the Ev. Gnadenkirche, as part of the Bodensee Festival 2025, with Michael Wollny appearing as Artist in Residence.

Limited test pressings of the first-ever vinyl edition Swedish Folk Modern by Nils Landgren and Esbjörn Svensson.Album: Swedish Folk Modern Release: 15.05.2026A rare collector's item: A test pressing is the very first sample disc of an album and is used for quality control before the final pressing. It does not always match the sound of the later release exactly, which makes each copy a distinctive collectible with its own history. Every test pressing is a limited edition: ideal for collectors and for anyone who appreciates jazz vinyl, rarities and exclusive editions. Your ACT test pressing package includes:  1 Bio-Vinyl test pressing in its original white sleeve. A beautifully designed card, featuring hand-written key details about the release such as artist names, album title, production year, number of test pressings. Album booklet in PDF format. This sheet provides an in-depth look at the album and includes: The cover artwork, a thoughtfully written text about the album, tracklist, full credits for production and performance,  instrumentation details. Test Pressing Authentication Certificate. This certificate confirms the authenticity of this test pressing, which was produced as part of the quality control process before the final vinyl pressing. Test pressings are made in limited quantities to ensure the highest audio fidelity and manufacturing standards. Each test pressing is carefully inspected and approved by our team before production proceeds. This document serves as verification of its authenticity and uniqueness. For official validation, this certificate bears the company stamp.Please note: A test pressing is a preliminary version of the vinyl record used to evaluate the quality of the pressing before full production. The audio quality may not be identical to the final version and may include some imperfections inherent to the test process. It holds historical significance as part of the production process.

past is present | Nils Landgren & Esbjörn Svensson: Swedish Folk ModernA curated ACT Music vinyl series in which the past becomes the present. Timeless recordings that don't just live on, they continue to speak in the now.First time on vinyl Limited to 1,000 copies, each hand-numberedRemastered for vinylHigh-quality 180g pressing, black vinyl, lacquer cutLiner notes written exclusively for this editionIncludes a collector's obi strip on premium art paperIndividually designed labels and inner sleeve, inspired by the original artworkA designed inner sleeve as a narrative cornerstone of the album, printed on coated art paper past is present is ACT's curated deep dive into the label's rich catalogue, bringing outstanding recordings back into focus on premium vinyl. These are albums whose relevance has not faded – they still speak with clarity and emotional force today. Selected as part of ACT's musical heritage, each title appears either for the first time on vinyl or in a newly remastered edition, reaching the highest possible fidelity while honouring the original artistic vision. Every release is conceived as a limited, hand-numbered collector's edition, made for listeners who value both the sound and the object. The original cover artwork is preserved and elevated through refined production: a bespoke collector’s obi strip, newly commissioned liner notes, custom-designed labels and an individually designed inner sleeve – each part of a cohesive series identity and a premium vinyl experience. The first album of the past is present series vividly embodies its philosophy: Swedish Folk Modern brings together Esbjörn Svensson and Nils Landgren, two of Europe's most influential jazz musicians, in a rare and deeply intimate setting. With great sensitivity, Svensson and Landgren improvise on Swedish folk songs: pieces about love and sorrow, from the fields and from the church, that are familiar to almost everyone in Sweden. Swedish Folk Modern is not only an exceptional album by two musicians who understand each other instinctively. It is also a moving testament to the extraordinary range of stories that can be told through the vocabulary of jazz. Together with its follow-up Layers of Light, and alongside the posthumously released solo album HOME.S., it is one of the only recordings to feature Esbjörn Svensson, who passed away on June 14, 2008, as a leader outside his legendary trio e.s.t. A rare jewel in the crown of European jazz history, now on vinyl for the very first time. 

Joel Lyssarides: Late on EarthCD / Vinyl (LP, 180g) / Limited Curacao Blue Vinyl (LP, 180g) / digital Joel Lyssarides piano Niklas Fernqvist bass Rasmus Blixt drumsFor Swedish pianist Joel Lyssarides, substance and depth always take precedence over flashy concepts, emotion and expression over mere virtuosity. Making music, he says, is like searching for grains of sand in the desert — a continuous journey of many small steps. His music thrives on detail: the finest nuances, subtle shifts in harmony, groove and dynamics. And on a distinctive piano sound — crystal clear, yet never sharp. The fact that Lyssarides’ music has now surpassed 100 million streams shows that this quiet intensity resonates with audiences around the world.Lyssarides belongs to a generation of European jazz musicians who left stylistic boundaries behind long ago. He is a sought-after collaborator – currently as a pianist alongside Nils Landgren, as part of the e.s.t. tribute project with Dan Berglund and Magnus Öström, and also as a composer for pop productions and video game music. Yet the piano trio remains at the heart of his work. It is the formation in which his musical universe unfolds most directly.Joel Lyssarides’ new album Late on Earth has been developed in an unusually long and intensive process. Over more than four years, the music has developed in close exchange with producer Andreas Brandis – a creative dialogue that encouraged Lyssarides to explore new paths. “It was almost therapeutic. On the one hand Andreas knows what makes me tick, and what I can do musically, but I also shared many of my doubts with him. In the end we decided everything together: the choice of the line-up, the studio – in this case the legendary Bauer Studios – the songs, the final takes. That helped me enormously, and I think I’ve never captured who I am and what I feel as honestly as this on a recording.” And there’s also a thought that makes him smile: “For the first time, I even have pieces on an album in a major key!”One important reason for the music’s emotional depth was Brandis encouraging Lyssarides to take more risks and to let go of the idea of perfection. “Especially at a time when music is increasingly digitally polished or even entirely generated by AI, Andreas was interested in the total opposite: the human element. In the end it’s often the small imperfections that make music come alive – music arises from immediate experience capturing the search for who you are, for your sound, your expression.”Joel Lyssarides’ music arises from immediate experience, rather than from any attempt to follow a conceptual agenda. “I sit down at the piano, feel something — and play, often for hours.” Many of the pieces on Late on Earth grew out of such moments: from sleeplessness, from love, from fleeting thoughts or small observations. For Lyssarides, it is a great joy when these small moments find their way out into the world and begin a life of their own. Sometimes this can feel almost surreal, as he describes: “Recently a pianist sent me his version of one of my pieces and wrote how much it meant to him. And I thought: wait a second – I wrote that tune at four in the morning...in my underwear.” Late on Earth is a collection of sincere musical snapshots — full of beauty, sometimes with rough edges, always carried by a profound emotional clarity. CreditsRecorded 07–08 July 2025 at Bauer Studios, Ludwigsburg Recorded, mixed and mastered by Adrian von Ripka Composed by Joel Lyssarides Produced by Andreas Brandis Photos by Andreas Brandis (Joel Lyssarides),Joel Lyssarides (Niklas Fernqvist; Rasmus Blixt)Cover art by Jiří Georg Dokoupil, used by kind permission of the artist© VG Bild-Kunst, Bonn 2026Design by Siggi Loch

Joachim Kühn: Joachim Kühn & Young LionsCD / Vinyl (LP, 180g) / digital Joachim Kühn piano Jakob Bänsch trumpet AndrésColl marimba Nils Kugelmann bass Sebastian Wolfgruber drumsWhen Joachim Kühn was asked back in 2024 for his feelings about turning 80, his response couldn’t have been clearer: getting older annoys him. Rather than being sentimental about it or celebrating it, it’s something he’d rather resist, preferring to put his efforts into working against the threat of getting bored or distracted, and particularly against any hint that he might be stagnating.But when he is asked how he’s feeling or what he’s doing, his story takes a very different turn: "I'm more productive than I’ve ever been. My daily routine revolves entirely around music. I compose and improvise. Every day, and for hours on end." For Joachim Kühn, being 80-plus means above all one thing: not wanting to waste time. Practise...create...keep going. "What I want is to play with even more freedom," he says, "like all the great musicians at the end of their lives – Bach maybe, or John Coltrane." This irrepressible urge to become better, to avoid repetition, to try new things, has shaped Kühn's entire musical life. Classical music, free jazz, jazz rock, modern jazz, world music – Joachim Kühn is constantly on the lookout for new inspiration. And for musicians who will challenge him, force him to be on his mettle and to develop further.In the album Joachim Kühn & Young Lions, all of these needs are fulfilled. Kühn wrote a set of new music between December 2024 and January 2025 with the aim of recording it with people he had never played with before. "In terms of sound, my idea was trumpet and marimba," he recalls. One of the players was a certainty from the start: Andrés Coll, whom Joachim Kühn discovered in his adopted home of Ibiza, would take the vibraphone part. "He’s an incredible talent," says Kühn. One might have the thought that two virtuosos on harmony instruments could get in each other's way, but the opposite happens: Coll plays with no less density or intensity than Kühn, but instead of occupying each other's space, their notes mix like splashes of colour in a painting, creating new tones which are all the more intense.Finding the right trumpeter was less simple. "I listened to a lot of potential candidates, but none of them convinced me. Finally, my friend Roland Spiegel, jazz editor at Bayerischer Rundfunk, recommended the young Jakob Bänsch and played me his music. I knew from the very first minute that he absolutely had to be part of this." Bänsch visited Kühn in Ibiza, and together with Andrés Coll they rehearsed for four days, working on music that is extremely challenging to play, especially for the trumpet. The effort was worth it. On the album, Bänsch manages to strike a balance: his playing of Kühn's complex themes is clear and strong, but he also brings the agility and subtlety which the freely improvised sections require. The rhythm section of Young Lions came about through an encounter with ACT director Andreas Brandis. He instinctively liked the idea of a new band with young musicians, and played Kühn the album Life Score by the Nils Kugelmann Trio. Kühn and bassist Kugelmann met that very same day at the ACT offices in Berlin. "We took an instant liking to each other," Kühn remembers. "After our meeting, I listened to his music more intensively and thought: he's a perfect fit." That left the question of the drummer. After listening to Nils Kugelmann's album several times, the answer became clear: "Kugelmann and his drummer Sebastian Wolfgruber are a team! They know each other well and are a great fit for the new band." Like their fellow musicians, Kugelmann and Wolfgruber shine with mastery in two seemingly contradictory areas: weight, grounding, stability when the music requires it – but in the very next moment they are capable of completely free flight across all musical boundaries. All in all, Young Lions, recorded in the studio of Joachim Kühn's friend and producer Axel Kroell, has turned out to be a fortunate turn of events on many levels: for listeners, for the band and for the pianist/leader, who remarks: "These four guys, all in their 20s or early 30s, are the outstanding musicians of their generation – you know straight away that they're going to be huge. Actually, they already are. And as to what they'll be playing in a few years' time – I'm already excited by that. They really fired me up, we play absolutely as equal colleagues, I'm just totally thrilled!" Perhaps the most important message of the album is that combining different generations and personalities can produce a very special kind of cohesion and connection, and music which is so much more than the sum of its parts. In times of polarisation, it is something of a musical Utopia. Young Lions is the essence of that idea of jazz – which is also the essence of Joachim Kühn – one of its most important exponents anywhere in the world. CreditsRecorded August 27th to 28th 2025, at Polyester Studio, Munich, GermanyRecorded, mixed and mastered by Klaus ScheuermannAll music composed by Joachim KühnPiano tuner: Alex MahlerJoachim Kühn is a Steinway ArtistProduced by Axel KroellExecutive Producer: Andreas BrandisPhotos by Tibor Bozi Cover art by SHOSHU © 2025Used by kind permission of the artistDesign by Siggi Loch