Absinthe by Ramona Horvath out now!

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No sooner had pianist Ramona Horvath wrapped up the recording of her interpretation of Carmen than the urge to return to the studio struck again. It was time to reunite with her longtime musical companions — a trio that feels as natural and intuitive as the fingers on her pianist’s hand: André Villeger on tenor saxophone, Nicolas Rageau on double bass, and Antoine Paganotti on drums.

The chemistry between them is rare — a true musical fusion, built on deep listening and instinct. Their communication is so seamless it feels like the music flows freely, wordlessly, from one to the other. So: back to the studio. But with what vision?

Ramona has never been one to follow predictable paths. For her, being an artist means embracing risk, challenging boundaries, and seeking the unexpected. She’s always on a quest to uncover what has yet to be heard — to breathe new life into forgotten gems or familiar songs seen from new angles.

Just like absinthe — the so-called “green fairy” — Ramona gently intoxicates listeners with refined, elusive musical fragrances. Her project Absinthe is a celebration of rarity and reinvention: whether it’s rediscovering obscure compositions or transforming well-known pop melodies into something entirely fresh.

Originally, the project focused on unearthed, rarely played works by Billy Strayhorn — pieces Ramona literally went searching for on the other side of the world. But the idea grew into something more expansive.

Absinthe: A Double-Faced Project

Absinthe unfolds in two complementary parts:

In acoustic trio, Ramona reimagines pop songs from the 70s and 80s through a jazz lens, bringing out their emotional and harmonic richness. In quartet, she delves into little-known works by Billy Strayhorn and other overlooked composers, reshaping them with both reverence and freedom. What ties it all together is Ramona’s deep musical memory and her love for melody — whether drawn from Broadway, jazz standards, or the pop songs of her youth.

Now, under the spell of Absinthe, imagine for a moment what might have happened if Erroll Garner, Red Garland, or Tommy Flanagan had met Stevie Wonder, Michael Jackson, or Billy Joel. Ramona makes these imagined encounters come alive — with arrangements that are both unexpected and irresistible.

Track Highlights – Between Fantasy, Elegance and Rediscovery

With her signature mix of boldness and finesse, Ramona Horvath takes us on a journey where pop melodies and jazz rarities coexist — transformed by her touch and by the subtle interplay of her trio and quartet.

You Are the Sunshine of My Life A lively, grooving take that feels like Erroll Garner inviting Stevie Wonder to a joyful jam session. And as a playful encore, a wink to Isn’t She Lovely—like a smile slipped into the final bars.

Heal the World Recast as a 6/8 piece with the feel of an African round dance. The subtle, hypnotic pulse from Antoine Paganotti and Nicolas Rageau adds warmth and depth, while Ramona’s phrasing brings unexpected grace.

Just the Way You Are Inspired by Billy Joel’s tender lyrics, this version embraces a velvet swing. Ramona’s soft touch enhances the intimacy of the tune without ever losing its groove.

How Deep Is Your Love Transformed into a jazz waltz, the Bee Gees’ melody remains intact but gains harmonic depth. The trio breathes with one voice here — special mention to Nicolas Rageau’s lyrical solo, all warmth and elegance. You might find yourself singing along.

Saving All My Love for You The ghost of Whitney Houston hovers gently over this version. Ramona’s piano sings, note by note, infused with the emotion of the lyrics. Paganotti and Rageau provide a heartbeat that’s both tender and steady. A timeless standard is born anew.

The Rarities: Strayhorn and Beyond

The second half of Absinthe explores lesser-known repertoire with equal artistry.

Absinthe (aka “Lament for an Orchid”) A dark, nocturnal piece by Billy Strayhorn, rarely performed. Ramona gives it new harmonic textures, highlighting its melancholic beauty. A spellbinding tribute.

Your Love Has Faded Another Strayhorn gem, elegantly revived. André Villeger soars here in a Dexter Gordon-esque solo, while Ramona subtly nods to The Surrey with the Fringe on Top — a musical wink for attentive ears.

Ballad for Very Tired and Very Sad Lotus Eaters A rare, poetic ballad that seems suspended in time. Gentle and introspective, it’s a meditation on silence and slowness. Music that breathes and listens.

The Heather on the Hill A solo piano moment of pure color and nuance. This Frederick Loewe piece becomes a palette of shimmering tones under Ramona’s fingers — an unexpected treasure.

Here I’ll Stay Kurt Weill’s haunting melody is elevated by Villeger’s rich sax tone and Ramona’s buoyant piano lines — like wings lifting the theme skyward.

I Know Why Known only to a few through Sun Valley Serenade or Red Garland’s version, this Glenn Miller-era gem is given new life by the quartet. A rediscovered beauty that touches the heart.

JFK A powerful tribute to Ramona’s mentor, Jancy (Francis) Korossy, the Hungarian-American pianist. With a burning hard bop energy, this original composition showcases Villeger at his fiery best and evokes the spirit of Blue Note’s golden age. Sonny Clark would have approved.

Ignasi Terraza: The first time I heard Ramona Horvath, I was struck by her style and sound. Because of academic influences, almost all young pianists today end up sounding like Evans, Hancock, Corea, or Jarrett—as if jazz piano history could be summed up by those names alone. But when you listen to Ramona, you quickly realize her influences are quite different.

She knows the jazz piano tradition extremely well. With a masterful command of the instrument and a solid background in impressionistic romantic piano, she offers a unique cocktail of references upon which she builds her own musical language.

In her playing, you can also feel the legacy of her teacher Jancy Korossy, a jazzman of great stature who deserved much broader recognition during his lifetime. On this recording, Ramona is accompanied by a tightly knit trio, with Nicolas Rageau on bass and Antoine Paganotti on drums—both perfectly attuned to the various musical moods she explores.

The album presents a bold repertoire, combining two sessions: one revisits pop melodies that marked Ramona’s childhood, reimagined through her own jazz language; in the second session, the trio is joined by the lyrical and tasteful saxophone of the great André Villeger. Together, they present lesser-known melodies by composers such as Billy Strayhorn, Kurt Weill, and Harry Warren.

Without a doubt, this is a jazz album through and through—one you’ll want to listen to more than once.

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