“...a serious meditation in the Parker universe: Shepp accompanied only by the extraordinary bass of intuitive Niels-Henning Ørsted Pedersen... The two musicians here in this Parker revisited, however, do not get lost in the immense shadow of the idol...” (Télérama) 180g Audiophile Vinyl

Following the highly successful duo series by Archie Shepp (with Horace Parlan SCCD 31079 “Goin’ Home”, SCCD 31139 “Trouble In Mind” and with Niels-Henning Ørsted Pedersen SCCD 31149 “Looking At Bird”), here with Holland’s leading keyboard player Jasper Van’t Hof the great saxophonist mesmerised the audience with his electrifying performance. 180g Audiophile Vinyl

Three years after the sensational spiritual recording by this duo “Goin’ Home” (SCCD 31079) producer Nils Winther had Archie and Horace in the studio again. The theme this time was traditional blues. Once again the Shepp-Parlan duo made one of the best selling SteepleChase releases. England’s Gramophone magazine called the duo “a powerful and ultimately inspirational collaboration”. This recording was awarded the Deutscher Schallplattenpreis for Modern Jazz Und Jazz-Rock of 1982 by the prestigious Deutsche Phono Akademie.

Saxophonist and playwright Archie Shepp (b. May 24, 1937 in Fort Lauderdale. FL) then 26 years old visited Copenhagen in the fall of 1963 as a member of the famed New York Contemporary Five. Though Shepp at that time was the passionate practitioner of Free jazz, this recording in which he shared the bandstand with Sweden’s legendary baritone sax Gullin is something quite different from what one normally expects from Shepp in the 60s. It is Shepp playing straight jazz with audible enjoyment showing off his broad range of expression.

Following the highly successful duo series by Archie Shepp (with Horace Parlan SCCD 31079 “Goin’ Home”, SCCD 31139 “Trouble In Mind” and with Niels-Henning Ørsted Pedersen SCCD 31149 “Looking At Bird”), here with Holland’s leading keyboard player Jasper Van’t Hof the great saxophonist mesmerised the audience with his electrifying performance.

When the album by this unlikely duet of Shepp and Parlan playing hymns and spirituals came out in 1978 for the first time, it was an instant success and has become a classic since then. It is a success of unique theme (by the producer Nils Winther) and of sheer strength of musical material and of performance executed with grace and sensitivity. “...an overwhelming and emotional listening experience.” (Atlanta Journal Weekend)

“...a serious meditation in the Parker universe: Shepp accompanied only by the extraordinary bass of intuitive Niels-Henning Ørsted Pedersen... The two musicians here in this Parker revisited, however, do not get lost in the immense shadow of the idol...” (Télérama)

Trane's adventurous 1960 release, the first to feature solely his own compositions. Remastered from the original tapes, this landmark of modern jazz is further enhanced with 4 alternate takes. Includes the title track; Cousin Mary; Countdown; Spiral; Syeeda's Flute Song; Naima, and Mr. P.C.

In 1999, a year after recording the splendid reunion album Not Two, Not One, Paul Bley's highly innovative trio with Gary Peacock and Paul Motian took to the road with concerts on both sides of the Atlantic. When Will The Blues Leave documents a terrific performance at the Aula Magna di Trevano in Switzerland. Included here, alongside the angular freebop Ornette Coleman title track, are Paul Bley's Mazatlan, brimming over with energy, Gary Peacock's evergreen Moor, Gershwin s tender 'I Loves You Porgy" and much more... All played with the subtlety of master improvisers, recasting the music in every moment.

Carla Bley and her Remarkable Big Band, as the cover has it, in a resolutely contemporary performance of nostalgia-inflected material, recorded live at Paris's New Morning club. The album showcases rich and robust performances of new Bley material (plus an arrangement of a Ray Noble chestnut) with particularly stellar contributions by saxophone soloists Andy Sheppard and Wolfgang Puschnig, by trumpeter Lew Soloff, and trombonist Gary Valente. Centrepiece of the album is the 25 minute title track Appearing Nightly at the Black Orchid - commissioned for the Monterey Jazz Festival and heard here in a premiere recording.

In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Goran Freese-who later recorded Don's classic Organic Music Society and Eternal Now LPs-invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnas, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

Vinyl LP pressing. Recorded live by Rudy Van Gelder, this is one of a pair of Eric Dolphy's albums documenting the 1961 historical residency at the Five Spot, New York's major temple of the early avant-garde. This is timeless music performed by one of the essential line-ups in modern jazz. A marvelous quintet featuring the great Booker Little on trumpet and the amazing rhythm section of Mal Waldron on piano, Richard Davis on double bass, and Ed Blackwell on drums plus, of course, master Eric Dolphy on alto saxophone, bass clarinet, and flute.

Vinyl LP pressing. Improvisational sax giant Ornette Coleman was one of the principal founders of free jazz. Recorded in Copenhagen on 30 November 1965, Live at the Tivoli finds an unfettered Coleman blowing fiery peaks as drummer Charles Moffett and bassist David Izenzon provide an inobtrusive backing, Moffett locking into the groove on "Lonely Woman" and Izenzon offering a meandering melody on "Clergyman's Dream." Moffett's fine solo shows what he's made of on "Sadness," and on "Falling Stars," Coleman wreaks havoc on violin before blowing blue shades on the trumpet. Another excellent Ornette Coleman listening experience!