Charles Lloyd's new studio album features a newly assembled quartet of four distinctive voices with the legendary saxophonist joined by pianist Jason Moran, bassist Larry Grenadier, and drummer Brian Blade. Recorded around Lloyd's 85th birthday concert, The Sky Will Still Be There Tomorrow is a majestic body of work that presents Lloyd originals new and reimagined. The double-album finds one of the most significant musicians of the 20th and 21st centuries still at the peak of his powers. 2 CD: Softpak, 8-page booklet

Recorded in Oslo in September 1970, Afric Pepperbird was released on New Year's Day in 1971. Half a century later, it still conveys the freshness and excitement of discoveries being made. The album signaled the arrival of four Norwegian improvisers - Jan Garbarek, Terje Rypdal, Arild Andersen and Jon Christensen - at the fledgling ECM label. It was the start of a lifelong association with each of the musicians, whose influence was soon to reach far beyond the borders of their homeland.

Modern Lore finds Julian Lage playfully flipping the script he followed on his acclaimed 2016 Mack Avenue debut, Arclight. That album - produced, like Modern Lore, by Lage's friend and collaborator, the singer-songwriter Jesse Harris - was his first trio set on electric guitar and found Lage inspired by the sounds and the attitude of the freewheeling, pre-bebop jazz era, when, as he puts it, "country music and jazz and swing were in this weird wild-west period." This time he incorporates the sensibility, if not the outright sound, of early rock and roll, a similarly hybrid form driven by rhythm, personality and a passion for the electric guitar.

Here is the second volume of “In The Tradition” with all titles in first takes to complete the session which started with Volume one. The session was originally meant for Dexter Gordon. As Dexter was taken ill at the time of recording, Braxton filled in and the rest is history. “ This music confirms Braxton’s talent for striking a fine balance between the purely experimental and the more conventional.” (Jazz Journal)