Quartet+ is music composed and arranged by women, made possible by a NYC Women's Fund grant. Largely conceived during the Covid-19 pandemic, it celebrates the dynamic creativity of the city I call home, a place that I still find magical, where wonderful things can happen that probably aren't possible anywhere else - like this project! In addition to my compositions, I am delighted to present new arrangements of works by landmark women in jazz: Mary Lou Williams, Geri Allen, Marian McPartland, Carla Bley, and Toshiko Akiyoshi, true pioneers and giants all. I also loved writing for strings and recording in this "double quartet" format, getting the chance to draw from my years of studying classical violin. Looking back over the past year or so, if I remember anything, it will be the bittersweet reminder of the impermanence of all things. I imagine this is why musicians make records - in live performance once the last note is played, the moment is over and everyone moves on... at least until the next concert where we do it all over again. May there be many more such concerts, and let us keep coming together to share music whenever we can - hopefully in person again, very soon! -Helen Sung (NYC, 2021)

Born from personal relationships, Sung's compositions bring the masters vividly to life: "A Little Bird Watchin'" swings with Jimmy Heath's mischievous wit and lasting wisdom; "Positively C.T." crackles with Clark Terry's indomitable spirit, showcasing the top-notch trumpet section in 'Clarkisms' and flugelhorn-trumpet sleight of hand; "Wayne's World" reaches for Wayne Shorter's mighty cathedrals of sound as it dances between playful riffs, soaring melodies, and soulful grooves; while "Mr. Virtuosity" stands as tall as Ron Carter's towering bass legacy. "Pianism," a piano concerto inspired by Sir Roland Hanna's urging Sung to not forget her classical roots, celebrates the keyboard mastery of Barry Harris (keeper of Bud Powell's legacy and the bebop flame), Kenny Barron (a modern master of melody), and Herbie Hancock (transcendence personified), with Hanna presiding over the entire work in an intro and reprise which evokes his noble and generous spirit. Alongside these originals, Sung's arrangements of Terry's "Samba Da Gumz," Shorter's "Diana," Carter's "R.J.," Horace Silver's "Peace," and her own "Convergence" complete an album of stunning range and cohesion. But this deeply personal and momentous album is no jazz history lesson; rather, it is a powerful musical statement standing against the prevailing push towards isolation and division. Sung's richly layered work invites listeners to participate in the living continuum and community of Jazz as they experience the masters speaking through this music dedicated to their humanity and profound artistry. Their masterful mentorship helped Sung persevere through rites of passage to find her authentic self, and Oracles encourages the listener to do the same with joy and freedom. Oracles is created with the support of the John Simon Guggenheim Foundation, which awarded Sung a Fellowship in 2021 (additional support comes from the New York State Council on the Arts). The pivotal spark for exploring big band came from another organization known for pioneering new opportunities: Jazz at Lincoln Center. In 2016, it commissioned Sung to write a big band arrangement of McCoy Tyner's "Four By Five" for the Orchestra (she performed it with the ensemble, which was recorded and released on the 2017 Blue Engine live album A Handful of Keys). Now ten years later, that experience of composing for large ensemble has come full circle. It is therefore fitting that the brilliant leader of the JLCO, Wynton Marsalis, wrote the liner notes for Oracles, saying: "Helen Sung is a shining example of the heroic journey to self-realization through the art of Jazz. As a soloist, arranger, composer and bandleader she [Helen] has developed an expansive vocabulary that encompasses the richness, virtuosity, freedom and humanity that defines the best jazz... The little details that define our music are well represented and attended to with care and intelligence. That's why this is a great listen... All you have to do is check it out."

Claire Huangci went from being "clearly a pianist to follow" to the status of internationally established and acclaimed young pianist even before winning the Mozart Prize at the Concours Géza Anda in 2018. Following on from four successful solo albums from arrangements of Russian ballet music through Scarlatti to Chopin's complete Nocturnes and all of Rachmaninoff's Preludes she now releases her first orchestral album with Berlin Classics. Together with the aspiring young South Korean conductor Shiyeon Sung and the Deutsche Radio Philharmonie she plays Chopin's Piano Concerto No 1 and contrasts it with Paderewski's concerto. Chopin's Piano Concerto No 1 is well established on the world's concert platforms. Huangci is well aware that there are two sides to Chopin the man who composed the piano concerto and the creator of the Nocturnes In comparison to Chopin, Paderewski is relatively unknown, yet he was an intensely interesting man and his piano concerto is rich in ideas and resources. The configuration of the recording is ideal- two artists who composed their works early in their careers, interpreted by an equally young pianist. Huangci perceives the youthful verve of the compositions:"Both composers exude a true joie de vivre, a love of life, attributable to their youth. The concertos were clearly written by men who looked with hope to the future." She brings the same youthful elan to her interpretation.

Winner of the Kennedy Center's Mary Lou Williams Piano Competition, pianist Helen Sung makes her SteepleChase debut here with her “Rolls-Royce” rhythm section consisting of Peter Washington on bass and Lewis Nash on drums to showcase her original and adept sense of (re) concepting jazz standards and beyond.