A une epoque ou la plupart des saxophonistes se coulaient dans l'ombre de Charlie Parker, Lee Konitz, fort de ses convictions, a su se tenir a distance et, irresistiblement, ouvrir les portes d'un univers musical d'une grande modernite en imposant une sonorite lisse et une grande intelligence melodique. Jean-Paul RICARD At a time when most saxophone players were slipping into Charlie Parker's shadows, Lee Konitz - a man of conviction - kept his distance and slowly, irresistibly, opened up the doors to a new universe of music: it was grand and modern, and Konitz imposed upon it a sound that had smoothness and showed great intelligence in it's melody. Jean-Paul RICARD CD 1 (1947-1954) : CLAUDE THORNHILL & HIS ORCHESTRA (Columbia 1947) : YARDBIRD SUITE - LEE KONITZ with LENNIE TRISTANO (Prestige 1949) : SUBCONSCIOUS-LEE - LENNIE TRISTANO SEXTET (Capitol 1949) : WOW - MARIONETTE - DIGRESSION - INTUITION - LEE KONITZ with LENNIE TRISTANO (Prestige 1949) : MARSHMALLOW - SOUND-LEE - MILES DAVIS & HIS ORCHESTRA (Capitol 1950) : MOON DREAMS - LEE KONITZ GROUPS (Prestige 1950) : REBECCA - YOU GO TO MY HEAD - ICE CREAM KONITZ - PALO ALTO - LEE KONITZ SEXTET (Prestige 1951) : YESTERDAYS - HI BECK - LEE KONITZ/BILLY BAUER DUO (Prestige 1951) : DUET FOR SAXOPHONE AND GUITAR - LEE KONITZ with GERRY MULLIGAN (Pacific Jazz 1953) : LADY BE GOOD - LOVER MAN - LEE KONITZ (Vogue 1953) : I'LL REMEMBER APRIL - LEE KONITZ QUARTET (Storyville 1954) : ABLUTION. CD2 (1954-1961) : STAN KENTON & HIS ORCHESTRA (Capitol 1954) - IN A HIGHER VEIN - LEE KONITZ QUARTETS (Storyville 1954) - NURSERY RHYME - FOOLIN' MYSELF - LENNIE TRISTANO QUARTET (Atlantic 1955) : THESE FOOLISH THINGS - LEE KONITZ with WARNE MARSH (Atlantic 1955) : BACKGROUND MUSIC - LEE KONITZ (Atlantic 1956) : ALL OF ME - LEE KONITZ QUINTET (Atlantic 1957) : FOOLIN' MYSELF - LEE KONITZ QUINTET (Verve 1957) : BILLIE'S BOUNCE - LEE KONITZ QUARTET (Verve 1957) : THE NEARNESS OF YOU - GERRY MULLIGAN (Pacific Jazz 1957) : DISK JOCKEY JUMP - LEE KONITZ with STRINGS (Verve 1958) : WHAT'S NEW? - LEE KONITZ meets JIMMY GIUFFRE (Verve 1959) : CORK 'N' RIB - LEE KONITZ (Verve 1959) : YOU DON't KNOW WHAT LOVE IS - LEE KONITZ (Verve 1961) : I REMEMBER YOU. DIRECTION COLLECTION : ALAIN GERBER, TEXTE : JEAN-PAUL RICARD, PRODUCTION DeLeGUeE : JEAN BUZELIN

Trumpeter Louis Smith’s formative period as a jazz performer some 50 years ago was in the midst of developing/establishing stage of Bebop. Dizzy Gillespie, Fats Navarro and Clifford Brown are the greatest influence on Louis Smith’s trumpet style. Here on his first release in the new millennium Louis is joined by some of the best bebop players of the younger generation.

Two veterans of bop, trumpeter Louis Smith and saxophonist Billy Mitchell joined by the young lion Mark Turner make the 7th volume of “this essential documentation of jazz” an inspired recital. For Billy Mitchell this was his last recording session. “Billy Mitchell was a dignified hero right to the end, and his playing here will stand as a fitting memorial to his resilient talent.” (Mark Gardner). JazzReview’s Rick Finlay wrote, “…SteepleChase’s series of jam sessions drawing together the cream of the contemporary jazz world makes a refreshing change these days.”

Gong With Wind epitomises neatly the nature and purpose of this unique collaboration between evergreen veteran saxophonist Lee Konitz (supplying the wind) and master percussionist Matt Wilson (the man with the “gongs”). The pair have known each other and played together intermittently for many years. Matt was part of Lee’s group in the early 1990s. Konitz had in mind for sometime to make an entire album with the sole assistance of the drummer for whom he has the highest regard. (from Mark Gardner's liner notes)

The collaboration between Duke Jordan and SteepleChase in the 70s represents a major body of Duke Jordan’s creative output both as performing artist and as composer. Duke led his regular trio with Wilbur Little and Dannie Richmond during the extensive Scandinavian tour in the autumn of 1978. This release is from the concert at the Art Museum at Høvikodden, Norway, filled with Duke Jordan’s melodic magic.

A special release from SteepleChase's cradle period consists of the two "duo" (Kenny Drew on piano and Niels-Henning Ørsted Pedersen on bass) recordings originally marketed as SCS 1002 and SCS 1010 on LP. Re-mastered in a high resolution (24bits 96khz). No extra material added. "Drew and Pedersen have made this an artistic triumph...it finds both men in excellent form..." (on SCS 1002 DUO B.McRoy, Jazz Journal, UK Sept. 1973) "This is an album of great musical value which will give pleasure for a long, long time. (Chris Sheridan, Into Jazz, UK May 1974)

“Bud was a genius piano player–the best there was of all the bebop piano players.” - Miles Davis “If I had to choose one single musician for his artistic integrity, for the incomparable originality of his creation and the grandeur of his work, it would be Bud Powell. He was in a class by himself" – Bill Evans Bud Powell 1962 is something we at SteepleChase have been obsessed with for a while. The previous release SCCD 36040 “Bud Powell 1962 Copenhagen” was from the recordings made at the Danish Radio Concert Hall and Jazzhus Montmartre. What we have here is from the same year from the fabled Golden Circle where SteepleChase’s 5-volume releases At The Golden Circle come from. The Swedish part of this release were recorded two days prior to those SteepleChase releases. Bud Powell travelled on to Oslo Norway the same year to perform some memorable tracks captured here before going back to USA for the last time.

Bud Powell was “the foundation out of which stemmed the whole edifice of modern jazz piano" (Herbie Hancock) and “the greatest be-bop piano player in the world “ (Hampton Hawes). Though his life was short and troubled (1924 – 1966), Bud found some solace and tranquillity during the years (1959 – 1963) he lived in Europe (mostly in Paris). The recordings that make up this album are from March and August of 1962 from Danish Radio Concert Hall and Jazzhus Montmartre in Copenhagen. However battered mentally and physically the man was, here’s the clear evidence of his genius more intact than generally believed.

The paths of Eric Ineke and Tineke Postma crossed several times the recent years. The time was there for an album together. The Charlie Parker centennial was the right moment to make it happen, the man who helped to define the bebop. According to Eric Ineke would never have been an Eric Ineke JazzXpress if it wasn't for Charlie "Bird" Parker. On What Kinda Bird is This? the listener gets known and lesser known material by Charlie Parker, complimented two pieces based on work by Charlie Parker, from the hand of Marius Beets.

SteepleChase’ 50th anniversary “In Concert” series continues with Gerry Mulligan’s famed Concert Jazz Band from October 31, 1960 at its first concert in Europe. The Concert Jazz Band’s unique arrangements and its trademark sound of translucency are restored by the modern sound technology. The Concert Jazz Band’s live performance from their European tour have been released before except this from Copenhagen and Berlin. The Django Reinhardt piece Manoir de mes Rêves and Mulligan’s 18 Carrots for Rabbit get rare performance here.

Duke Jordan’s early success came as member of the Charlie Parker Quintet contributing some of the most endearingly apt introductions of the jazz’ classic repertoires such as “Embraceable You”. He composed quite a few great jazz tunes that became standard numbers like “Jor-du” and “No Problem” among others. After a lengthy hiatus due to his drug problems in the 60s Jordan was rescued by a handful of Danish jazz enthusiasts and started resuming his professional career in Europe and Japan. The featured young tenorist Bent Jædig had shared the bandstand with Jordan during the years into the 80s. Along with Jædig two guest players were sitting in: bassists Eddie Gomez (in town with Bill Evans), and South African Johnny Dyani. This live recording finds Jordan at the famed jazz club Montmartre in the heart of Copenhagen the night before the (studio) recording session of his best-selling album “Flight To Denmark” SCCD 31011. Duke Jordan made Denmark his permanent home until his death in 2006.