Les reprises de grands classiques contemporains revisités à travers le filtre jazz font florès

Schloss Elmau is not only a magnificent building in the heart of the idyllic Alpine setting of Upper Bavaria, but also a stronghold of first class music. International stars such as Brad Mehldau and Gidon Kremer regularly come here to find new energy and creativity, and ACT legend Esbjörn Svensson called the retreat of Elmau his “favourite hideaway“.

Red Garland's Piano (1957) showcases what made the pianist a man worthy of admiration: a firm left hand provided a punchy rhythm while the right hand manufactured bold block chords or glassy arpeggios.

Basement Research is one of Gebhard Ullmann's ongoing projects; its first edition produced an eponymous debut (Soul Note, 1995), where the multi-reedist was joined by Ellery Eskelin's battling tenor saxophone and supported by bassist Drew Gress and drummer Phil Haynes, resulting in music with much raw energy and passion.

Un Llamp Que No S'Acaba Mai documents a concert by pianist Agustí Fernández (a leading light of Barcelona's freer fringe) with bassist John Edwards and drummer Mark Sanders (both from London's improv scene) at the Sigüenza Jazz Festival. Here Fernández and Co. perform the festival's first ever offering of totally improvised music, a set that, according to the liner notes, opened the ears and "doors" of many uninitiated listeners. And a worthy entrée to the outré it is: from the first feathery rumblings and light harmonics of the bass, complemented by chromatic fragments from the piano and whispering bells and gongs, the music crackles like a slowing heating hearth, hums like a hive and winks and twinkles like stars in a compelling segue of mercurial soundscapes.

Miroslav Vitous has long been one of Europe's premier jazz bassists, while John Scofield is a great American guitarist. Their team-up yields music that is immaculately presented but often deficient in the energy and soul departments. That seems by design; such numbers as "Inner Peace" and "Shinkansen" have subdued arrangements, and the players carefully solo without ever straining or exerting themselves. At other times, Vitous and company move into more of a funk or upbeat style and seem even less sure. Vitous' bass work, especially his acoustic bowing, is marvelous, while Scofield plays in a sharp, concise, impressive manner, although without the characteristic edge and rock/blues stylings

French bassist Stéphane Kerecki, who launches this album at London’s Pizza Express Jazz Club on 15 June (featuring his trio with the excellent guest Tony Malaby as an extra sax), is one of the fascinating European jazz prospects of the 21st century.

Opening that buried head, up and down the staircase steps coalescing into time articulation with sparks abounding - Nasheet and William mixing and matching - Malaby suspending the buried head, buried in suspensions. Soprano head, oboe neck, fluted torso. Body language spoken fluently, listen, listen HEAR. Modulation in time, in tempo, in tone, in color.