A contrafact is a method of composing a new melody and arrangement on a pre-existing musical composition using its chord progression. In jazz, one of the most famous examples is “Hot House” (Tadd Dameron) based on “What Is This Thing Called Love?” (Cole Porter). Baritone saxophonist Gary Smulyan has been intrigued by this particular way of composition for a number of years. His first album on SteepleChase last year SCCD 31844 “Alternative Contrafacts” is a superlative example of his interest. Here on this new release “Our Contrafacts” is a collection of new contrafacts by contributed by each member of the trio. “While there are occasional short solos by Wong and Green, the focus throughout is on Smulyan, who has yet to record an unworthy record or play an uninspired chorus. His passionate sound and fresh ideas make Alternative Contrafacts a set well worth picking up, particularly by straight ahead jazz collectors.” (Scott Yanow – NYC Jazz Records on SCCD 31844)

Veteran altoist Andy Fusco, since his SteepleChase leader debut in 2015 with “Whirlwind” album, has been releasing one album a year to fill the gap of his under recorded period of the prior decade. This new album, however, had to wait a little over a year for Fusco’s recovery from a medical treatment. He recovered and returned to record here arguably one of his best albums. “Fusco possesses a tart, live wire tone and almost every note feels urgent and animated. His vocabulary is an invigorating extension of the bebop lexicon, with nods to Charlie Parker and Jackie McLean. Flinging short, disparate phrases into the air and miraculously forging connections between them, there's often an unhinged, thrill-ride quality to his playing. Even in the midst of a profuse, jam packed statement, Fusco never eclipses the rhythm section.” (David A. Orthmann – All About Jazz on SCCD 31875 Vortex)

To quote from an article of Village Voice, pianist Russ Lossing is “a gripping improviser, pulling ideas out of the air and nudging them into the action at hand as if they always belonged there”. Here on his new disc the improviser/composer Lossing devotes the whole album to a collection of new original compositions to create a powerfully impressive suite. “Russ Lossing, a talented pianist who has been active professionally for over three decades, found it easy to generate some fresh approaches to playing standards and time-tested jazz compositions, given his track record on earlier small-group record dates.” (Ken Dryden – NYCJR on SCCD 31863 Changes”) “Here’s some nourishing refreshment, and it comes from a piano, bass and drums trio which, while working broadly within a continuum defined by Paul Bley and Bill Evans, carves out distinctive territory of its own.” (Nic Jones – Jazz Journal on SCCD 31863)

Scott Lee had to decide whether to become a pro tennis player or a pro bass player while still a college student in Chapel Hill, N.C. He chose jazz and eventually moved to NY in the late 70s. Lee worked with Chet Baker, Lee Konitz, Zoot Simms, Al Cohn, Freddie Hubbard, Red Rodney, Kenny Werner, Joe Lovano a.o. As his two previous releases SCCD 31649 One Thought and SCCD 31687 Leaving indicate Lee thrives in composing and performing music that transcends the conventional boundaries. In this new album Lee and his cohorts give us a chance to enjoy what he calls “The Game”, a new and unique way of enriching and expanding the horizon of jazz. “Leader and bassist Scott Lee offers simple yet thought-provoking music on the aptly titled One Thought. It’s not the sculpted sound of Tristano’s best-known group, although it has some of its introverted intensity. Those who feel that jazz is losing its creative edge should hear this album and other basically mainstream offerings of the last few years.” (Will Smith – JazzTimes on One thought) “It would be easy to identify most of the tracks here as comprehensively composed music. The improvisation is that good—or maybe its' simply a near-perfect match of sympathetic players”. (Mark Corroto – AAJ on Leaving)

Cornetist/composer Kirk Knuffke is, to quote All About Jazz, “one of modern jazz’s most skilled navigators of the divide between inside and outside, freedom and swing.” This, his 10th leader album on SteepleChase is a resounding proof of Kirk’s empathy and appreciation of “inside” and “swing” early jazz. Kirk assembled a slimmed down Brass Band trio with the leading tuba player Bob Stewart and the versatile Kenny Wollesen on drums to present a dazzling program inspired by the earlier geniuses such as Louis Armstrong. “Tribute albums must of course stand on their own. Knuffke pays homage to Cherry by sounding like himself. The austere format allows an immersion in the full scope of Knuffke’s technically astute and wildly unpredictable creativity.” (Thomas Conrad – NYC Jazz Record on SCCD 31832 Cherryco) “…(Knuffke) puts the emphasis on ensemble interplay, forming an airy, malleable bond with his deft rhythm team while still uncorking one convincing and lyric solo after another. Cherryco feels like a love letter and it’s hard not to share in the ardor. (Peter Margasak – Down Beat on SCCD 31832 Cherryco)

NYC-based saxophonist/composer Adam Niewood was born into a musical pedigree with jazz saxophonist father and classical pianist mother. The composer of the tunes recorded here is Adam’s father, Gerry Niewood who rose to his fame in the 70s and had achieved a successful career until his untimely death 10 years ago. Adam with his dream rhythm section dedicates this album to his father. ”… craftsmanship and attention to detail is also evident in his music. Adam Niewood has a distinctly powerful, supple and soulfully intelligent presence.” (Mark F. Turner – AAJ)

Ronnie Cuber appeared on more than 200 albums in his long and active career of 60 years performing wide range of style and format. This new album finds Ronnie fronting organ/drums/guitar ensemble probably for the first time in 40 years. “Best of all, there’s Cuber himself, whose playing has, incredibly, grown more authoritative with each passing year. His sound, huge and affable, brims with personality, and it’s hard not to be awed by the freshness and wit he brings to chestnuts such as “St. Thomas” and “Honeysuckle Rose,” or the lyricism with which he imbues “All the Things You Are.” (J.D. Considine – JazzTimes on SCCD 31860 “Ronnie’s Trio”)

New York’s stalwart ensemble Vic Juris Trio (with Jay Anderson and Adam Nussbaum) has been regularly performing Vic Juris’ compositions, which are recording ready for this session. Vic’s trademark versatility and inventiveness come to the fore with the use of electric and acoustic guitars. “Juris’ inventive lines and rich harmonic gifts are apparent from the beginning, as is the familiarity of the trio with one another…. The trio … is truly interactive in their stunning interpretation. It’s hard to describe a jazz artist in his 60s as a “talent deserving of wider recognition”, but with CDs like this, Vic Juris has made an ample case.” (Ken Dryden - NYCJ on SCCD31841 “Eye Contact”)

Andy LaVerne, prolific composer, prominent educator and resourceful recording artist of five decades’ experience, is putting a new quintet together here to interpret his timeless compositions. The liner notes by the composer give us an intriguing insight into the working of a creative mind. “…. if you want to learn more about Andy LaVerne, this is a wonderful material with lyricism, musical intensity and well perceived format.” (O. Mathiesen – JazzSpecial on SCCD 31818 “Genesis”)

Stephen Riley’s acclaimed previous release SCCD 31850 Hold ‘em Joe was following Sonny Rollins’ pioneering tenor trio format. Here on his new disc Riley draws his inspiration from Rollins piano-less quartet with cornetist Don Cherry from the 60s. With ace trumpeter Joe Magnarelli as his side kick Riley initiates a new fertile ground for jazz’s old and new expression. “No matter what group Riley puts together for a record date, he merits top marks every time”. (Ken Dryden – NYC Jazz Records on SCCD 31850 “Hold ‘em Joe”) “Riley is a singular talent, not least for his twists on the standard repertory, and this is well up to scratch”. (Ronald Atkins – Jazz Journal on SCCD 31850)

Bassist/Composer/Educator Jay Anderson (b. in California) is so much in demand that it is difficult to come up with any distinguished musicians who have not had Jay in their band for gigs and/or recordings. Here on his 92nd appearance on SteepleChase the label has the pleasure of showcasing Jay Anderson as the frontline soloist/leader. Anderson with dazzling ability to create musical landscape presents 11 tracks with diversity unified by the deep resonance of a double bass superior. “Mr. Anderson has a melodic sense that effectively shapes his solos and adds subtle touches to his accompaniments.” (John S. Wilson – New York Times) “…a most imaginative and sympathetic bassist.” (The Observer - UK)

Since the release of The Pendulum album (SCCD 31826) of 2017, Mike Richmond has been performing increasingly more of cello than his main instrument double bass. Cello’s greater flexibility and singing timbre seem to have captivated Richmond, whose previous cello album “Tones from Joan’s Bones” SCCD 31851 was highly acclaimed by critics as well as by public. Here on this latest album Richmond’s cello again gets the front-line to perform the Great American Song Book repertoire. “The warmth and roundness of sound Richmond achieves makes his cello an ideal front-line instrument …. the sound of a cello is ideal in jazz and the only surprise is that it hasn’t been used in this capacity a lot more often than it has to date. Richmond is an adventurous and imaginative soloist and here he gets to do much more than just provide a bass line”. (Derek Ansel – Jazz Journal on SCCD 31851)

Guitarist John Hart has established the status of leading figure in the modern jazz guitar scene with highly acclaimed releases from Blue Note and Concord in the 90s. He has performed and recording with Jack McDuff, Terumasa Hino, Jimmy Smith, and Lou Donaldson, among others, as well as leading his own group. Hart now divides his time between New York and Miami, Florida where he is a lecturer at his alma mater the University of Miami Frost School of Music. “…He’s an amazingly inventive soloist and composer who is not afraid to step out of his comfort zone.” (John Heidt – Vintage Guitar Magazine)

When trumpeter Joe Magnarelli (known to most people as Mags) moved to New York City in 1986, he was already fully cultivated and nurtured in the rich jazz environment of upstate New York, especially around Syracuse where he was born. In NYC Joe Magnarelli has rapidly found his own voice and established himself as one of the most-in-demand artists. This is Mags’s first album as a leader on SteepleChase label. “The bop-based trumpeter Joe Magnarelli has it all: a warm, friendly sound, a splendid melodic imagination, a knack for writing memorable themes and for picking the best works by others, and a no-nonsense swing feel.” (The Star-Ledger) “… Joe Magnarelli has all the essentials one looks for in the best jazz musicians. There’s his unshakeable time feel that makes his work vigorous and forward moving …. he crafts captivating, propulsive improvisations …” (Los Angeles Times)

Vic Juris has added another guitar trio masterpiece here on his ever-growing body of recorded works. Since his SteepleChase debut album “Night Tripper” SCCD 31353 of 1994, guitarist Vic Juris has been presenting unique musical universe of unassuming virtuosity and versatility, of which John Kelman of AllAboutJazz once pertinently described as “fresh, in-the-moment and connected to the broadest possible tradition.” “Vic Plays Victor Young is a sensitive melodically exploratory album of standards and rarely covered airs, as should be expected from a seasoned ensemble with a compatible repertoire.” (Howard Mandel – DownBeat **** on SCCD 31829)

Chris Byars, the award winning alto saxophonist, composer, arranger, jazz historian and a 100% native New Yorker set out to “curate the state of jazz to create a sort of time capsule” (Chris Byars) for this new album. What Byars successfully presents here is the genuine creative aspiration that prevails in world’s most diverse and competitive artistic environment. “Chris Byars has done a remarkable job reviving these neglected compositions of Frank Strozier while also putting his own stamp on them with his inventive arrangements.” (Ken Dryden – New York City Jazz on SCCD 31824 The Music Of Frank Strozier)

All About Jazz once stated, “Andrew Rathbun is an artist who takes chances with his recordings. You don’t hear any paint-by-the-numbers jazz discs from him.” This latest release proves again how accurate this statement is. Canadian-born Rathbun has established himself as one of the most compelling voices of American jazz scene today both as performer and as composer. While the composer’s socio-political awareness is manifested in the tune titles, the music which is intellectually emotional speaks louder to our consciousness. “Reedman Andrew Rathbun’s recording dates — dependably rhapsodic, songful, rational — each have plausible logic and worked-out thematic.” (Fred Bouchard – Downbeat on SCCD 31781 Numbers & Letters)

Big G as in George Coleman, Sr. The legendary tenor saxophonist is the featured artist here on Brian Charette’s new album. George Coleman is the recipient of 2015 NEA (The National Endowment for the Arts) Jazz Masters Awards, the highest honor USA gives to jazz musician. For B-3’s most adventurous and talented practitioner Brian Charette who has known the Coleman father and son for more than a couple of decades, this recording materialized as a musical homecoming. “Both B-3 stylist and student, serious jazz scholar and glitzy entertainer, Charette is a burning soloist who understands the tradition of the Hammond B-3 as well its future—just as certainly as he understands his place in that lineage.” (Ken Micallef Downbeat Magazine)