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I had the impression on January 23 of having reached the beginning of a path that I would have liked to continue, after so many years of improvisation, of creation, based on what are called standards, which I call pretexts, challenges, essay topics that you can develop in a thousand and one ways according to the evolutions that arise in your mind or in your circle of musicians.\u003c\/p\u003e\n\n\u003cp\u003eThe standards have gone out of fashion, replaced by other themes that most of the time may not have the qualities to become standards, the so-called originals. All musicians considered themselves composers, free jazz burst onto the scene and swept away old themes, eliminating the difficult rules of stability of tempo, harmony, and melody.\u003c\/p\u003e\n\n\u003cp\u003eSome standards have survived, and those you will discover can be described as indestructible. 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He has performed around the globe and has been very successful not only in Europe, but also in Asia and South America, for example. He has collaborated with numerous prestigious artists in many countries, and continues to work as a soloist\/leader, recording artist and educator all over the world.\u003c\/p\u003e\u003cp\u003eOn Nu Bottega: \"The general idea is about the Italian lifestyle and the beauty that one can find there not easy to describe in a few words, but like finding the most beautiful things behind a slightly trashed or 'b-flat' areas\/places\/details. 'Nu Bottega' just means 'new restaurant' but having this vibe of a shared kitchen, cooking with friends, sharing the bread and so on. 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A constant knot had grown tighter and tighter within me over time, but I did not understand what had created it or how it might be undone. In 2018, shaken awake by the collision of two transients, I suddenly saw in a new light old patterns whose familiar presences I realized I had felt for much of my life, but had until then never seen for what they were. Following a third, I fnally found the humility to surrender, and as I began re- examining and confronting myself, I slowly started to discover new answers - and new questions to ask. Then the Covid-19 pandemic happened, and the world stopped. Like so many of us caught in the new eerie calm, I retreated into inner spaces. 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One is my recent reconnection with Belgian trombonist and phenom Phil Abraham who was invited last year as a jury member for my brass students at the Jazz Department in Luxembourg. This encounter set up the frontline and the aesthetical direction for the project - both Phil and I being huge fans of the Clark Terry and Bob Brookmeyer Quintet.  \u003c\/p\u003e\u003cp\u003eAnother influential element is the recent nostalgic musical reflection I had on some past travels. For example, the title track 'Careless Territories' was written during a family trip to Apulia in the south of Italy. 'Sunflower Eyes' is a straightforward musical reaction to a romantic and life-changing weekend in Amsterdam. 'Close by' was born after a surprising rainy stop in Barcelona.  \u003c\/p\u003e\u003cp\u003eLastly and more importantly 'Careless Territories' is the honest desire to expose a somehow multifaceted personal musical landscape; probably the result of a couple of years as an arranger for big bands. 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His selection of Marcel Seriese on drums and Hans Vroomans on piano was inspired -- they are inventive, empathetic musicians, and a pleasure to play with!  \u003c\/p\u003e\u003cp\u003eOur selection of tunes is based on strong melodies from the fields of folk, jazz, rock, pop, and originals by Jasper and me. I suggested that we play three Supertramp tunes, as a lengthy part of my musical life has been centred around the music of Rick Davies and Roger Hodgson. I first heard Don't Ever Leave Me played by Keith Jarrett. 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