Inside the Island – Quadro Nuevo on the island of Samos
It is a journey inward – not only geographically, but musically and spiritually as well. Inside the Island, the new album by Quadro Nuevo, will be released on October 24, 2025, by GLM Music, distributed by Edel (LP/CD) and Kontor New Media (digital). More than a collection of pieces, it is a musical travelogue, born on the Greek island of Samos. There, where waves, light, and sun shape the landscape, where ancient villages slumber in the hills, and a kafenion remains a meeting place for locals, the four musicians withdrew to create music scented with lemons, wild rosemary, and the cheerful melancholy of the South.
Quadro Nuevo consists of Mulo Francel (tenor saxophone, clarinet, mandolin, whistle), Andreas Hinterseher (accordion, bandoneon, vibrandoneon), Didi Lowka (double bass), and the ensemble’s newest member, guitarist Philipp Schiepek. Together, they embark on a search for the “simple life,” an unhurried, contemplative way of life that heightens awareness of what truly matters. Far from tourist crowds and global politics, they create music that is warm, elemental, and timeless – born from the openness and serenity of the Aegean.
On his new album “The Afrodub Experience,” multi-instrumentalist and producer Umberto Echo takes us on a journey through time and space across four continents. With numerous collaborators, he explores 50 years of Afro-Caribbean music history.
The starting point is the Afrobeat of the 1970s. In the Berlin project “Afrobeat Academy” of the late 2000s, Umberto found inspiration through collaborations with original musicians from Fela Kuti’s band “Africa 70.” He began to fuse their music with dub and reggae. Originally intended as Umberto’s second album, the project continually takes new twists and turns, becoming a journey you might not want to end. 18 years later, “The Afrobeat Experience” is now released as Umberto Echo’s twelfth studio album on GLM Global Music and Oneness Records.
Similar to how dub emerged from the roots reggae of the 1970s, Umberto Echo approaches Afrobeat with its many rhythmic layers by isolating and re-melding musical levels, thus opening up a view of deeper sonic elements. Various protagonists join him on this journey, who significantly shape the album. Musicians from Nigeria, Zimbabwe, Burkina Faso, Mozambique, Ghana, and Guinea-Bissau enrich the spectrum, as do singers from Jamaica and Barbados. Jazz musicians and co-producers from New York to Hamburg to Melbourne inspire each other and give the project a unique character over time.
Countless sessions yield a vast pool of ideas and songs, some of which have already been used on recent albums, others discarded. Experimentation, remixing, expansion, and shortening take place. Antique tape machines, digital effects from the 1980s, and a mixing console from the 1960s are coupled with state-of-the-art computers. Older songs are completely reworked years later, while others are conjured up at the very end. Historical and obscure instruments meet software and samples, and musicians who were still schoolchildren at the beginning of production ultimately participate.
What rightly sounds like chaos and eclecticism has been continually organized by Umberto over the years and, with the help of his co-producer Silvan Strauss, only completed when everything came together harmoniously. On the ten resulting songs on the album, Umberto Echo shares his “Afrodub Experience,” which can be enjoyed for years to come, discovering new details every time.
With the album “Songs From The Treehouse”, Tim Collins and Martin Gasselsberger have captured the essence of childhood nostalgia through emotional, intricate, and playful compositions. American vibraphonist Tim Collins and Austrian pianist Martin Gasselsberger first performed together in 2013, and from the very first note, it was clear they were musical kindred spirits. Since then they have performed many concerts in both duo and quartet settings, and now with the release of the album “Songs From The Treehouse” (GLM Fine Music), this deep musical connection is on record for all to hear.
“We wanted to capture the intimacy and playfulness of our concerts in an album”, says Collins. “I love that the most nuanced expression can come through…we’ve played together so much that we can almost read each other’s minds.”The running theme throughout “Songs From The Treehouse” is simple: happy childhood memories. The CD release features twelve songs, while the vinyl features nine. Of those songs, six are composed by Collins and four by Gasselsberger. The two covers include a Billie Eilish song and piece by Austrian guitarist and composer Harry Pepl.
“Mer Diga Men” – A musical homage to the past, present and future
With their third album “Mer Diga Men”, Die Drahtzieher are making a powerful statement – musically, emotionally and culturally. The title comes from Romanes, the language of the Sinti and Roma, and means “We see each other”. The song of the same name was composed by rhythm guitarist Bobby Guttenberger, who used it to commemorate his deceased brother.
his deceased brother. But the album goes beyond personal memories: it combines past, present and future into a musical narrative. The unmistakable sound of the Drahtzieher artfully interweaves the influences of three well-traveled young musicians from Ravensburg. The ensemble’s instruments meet at eye level in imaginative arrange-ments. Deep melancholy and fiery temperament meet in the styles of gypsy music, valse musette and Latin-inspired bolero. The trio creates the positive impression of the Next Generation, which carries the sonic tradition of its fo-refathers fresh and cosmopolitan into the future
On selected songs on the album, the trio is joined by French guitarist Samson Schmitt. Such as on “Flora”, an enchanting gypsy ballad. It was composed by jazz legend Dorado Schmitt, whose son Samson has now given his famous father’s work a new interpre-tation. The gentle, flowing melodies of the guitars merge with the harmony of the musicians’ playing. The result is a modern example of what the romantic side of the gypsy jazz tradition can produce today. A look into the past
“Mer Diga Men” is a tribute to all those who are no longer with us, but who live on in our memories and our music. Bobby Guttenber-ger, himself a Sinto, dedicates the title track of the same name to his brother, who died in a tragic car accident. The band deals with universal themes such as loss, grief and gratitude – emotions that everyone knows. Music has the power to connect beyond the boundaries of time and transience. Another example on the album is the ballad “Pour Que Ma Vie Demeure” (For My Life to Remain) by Django Reinhardt, the forefather of jazz manouche. With this work, the band also pays tribute to the legendary artist and his musical legacy. A look into the future
But “Mer Diga Men” not only stands for remembrance, but also for reunion and the joy of encounters. The band addresses these words to their listeners, friends and fellow musicians – to all those with whom they share a passion for music. Every concert, every session is an invitation to lose oneself in the music together and to inspire each other. With this album, the band reaffirms their desire to play even more live gigs, meet new people and spread the unifying power of music. A look into the present
The musicians themselves say about their new album: “We have different interpretative approaches for Mer Diga Men. But the most important one is the here and now.” Jazz thrives on the moment – on spontaneity, on immediate experience. During the creative process, the band is completely with itself, in its center. They recognize themselves in the music and accept what is. “We see ourselves” means to them: We are present. We are aware of ourselves. We open our eyes to what really matters.
With “Mer Diga Men”, Die Drahtzieher offer an album that touches, inspires and connects – a work that seeks to merge the past, present and future in the language of music.
David Klüttig – guitar, Bobby Gutenberger – guitar, Kolja Ledge – double bass and as guest: Samson Schmitt – guitar
With his new solo album Impressionists Improvised, pianist Chris Gall invites you on a fascinating musical journey that combines the dazzling soundscapes of impressionism with the freedom and energy of jazz. In breathtaking improvisations on works by Claude Debussy, Maurice Ravel and Erik Satie, Gall blurs the boundaries between genres such as jazz, neo-classical and minimal music. His unique style brings the atmosphere of this revolutionary art movement to life in a modern way, creating a completely new sound world that transcends genres.
150 years after the birth of Impressionism, Gall allows the essence of this era to blossom anew. By playfully exploring the harmonic and colorful similarities between impressionism and jazz, he succeeds in reinterpreting the emotional depth and intensity of these works in a contemporary context. The album builds on the musical paths Gall took with his acclaimed solo albums Piano Solo and Room of Silence and adds new, magical dimensions to his sonic language.
The Munich-born pianist, known for his many years of work with the award-winning band Quadro Nuevo, once again demonstrates his impressive versatility on Impressionists Improvised. His globally acclaimed performances and multiple German Jazz Award-winning projects have made him one of the most exciting artists of his generation.
With this album, Chris Gall takes his audience into a magical world of sound in which the intense moods of impressionism come to life in a modern, improvisational language. A work that delights listeners with a wealth of new impressions and magical moments – and playfully pushes the boundaries of the musical.
“Impressionists Improvised” – an album that combines history, emotion and innovation.
