The Sarah Chaksad Orchestra has already caused a stir with its debut album, “”Windmond””, and the compositions from the bandleader. According to JAZZ’N’MORE, this is around about how the big band of today would sound, and in his column, the powerfully eloquent jazz connoisseur, Peter Rüedi, describes the whirlwind of amazement that has transpired from the orchestra music of the Wohlen-born talent who now lives in Basel.

With “”Tabriz””, Sarah Chaksad and her orchestra present their opus through new compositions, which demonstrate their evolution and raise the bar even higher than the first album did. The enchanting title track, in which the brilliant guest musician, Wolfgang Muthspiel, adds the crowning point with his delicate guitar part, is not the only thing to express this. With the name of the historically significant city in north-western Iran, the composer proves the credentials of her father’s origins whilst simultaneously indicating that she is ever more confronted with different cultures and thus expanding her own jazz dialect.

This can be heard distinctly in “”Mehamn”” with the Norwegian trumpeter, Hildegunn Øiseth, and her striking goat horn. Along with Pepe Auer, Paco Andrea,

Thomas Lüscher, Sebastian Gieck and Eva Klesse, she joined the band, of which Andreas Böhlen, Cédric Gschwind, Fabian Willmann Julie Fahrer, Charles Wagner, Jonas Winterhalter, Octave Moritz, Lukas Wyss, Lukas Briggen and Lucas Wirz are also members. The development of Sarah Chaksad’s compositional language through new, cultural influences is rather subtle and not necessarily immediately audible - and yet in the spirit that has always distinguished jazz as a lover of the most diverse brides - just think of Latin American, Afro-Cuban or an array of music from the most diverse, European origins.