With over 30 leader/co-leader albums on SteepleChase, Andy LaVerne stands as one of jazz’s most quietly fearless innovators. His new project, Crystal Night, expands the dynamic chemistry of his acclaimed trio—bassist Mike Richmond and drummer Jason Tiemann—by adding vibraphone’s rising star Sasha Berliner, whose artistry evokes the spirit of Bobby Hutcherson and Gary Burton while charting her own path.
This quartet offering features ten newly written LaVerne compositions, each meticulously designed to explore subtle harmonic colors, metric shifts, and emotional depth. From the title track’s crystalline lyricism to the explosive energy of “Power Play” and the gently introspective “Second Thoughts,” Crystal Night is a study in texture, trust, and ensemble clarity.
“If you haven’t known Andy LaVene ever, This ine is a perfect introduction. It’s lyrical, musicaly intensive and most eloquent.” (Ole Mayyiemen – Jazz Special on SCCD 31818 Genesis)
Saxophonist-composer Chris Byars, praised as a modern master of ensemble writing and conceptual storytelling, delivers new album The Dark Forest—his fifteenth release on SteepleChase and perhaps his most introspective to date. Byars’ signature Original Jazz Sextet achieves remarkable harmonic and emotional depth through intricate voicings and counterpoint.
Critics have celebrated Byars as a visionary of new bop vocabulary. His previous albums like Boptics and Rhythm and Blues of the 20s drew accolades for their smart, infectious writing and engaging solo showcases.
“… he knows his musicians so well, Byars is masterful in his writing, blending the reeds and trombone in intricate ensembles while letting the soloists all shine throughout.” (Ken Dryden – New York City Jazz Record on SCCD 31929)
Veteran bassist Scott Lee, renowned for his innovative compositions and masterful performances, brings a fresh and dynamic energy to this his fourth release on SteepleChase. Lee’s vision of the bass as a melodic force, alongside pianist Vazquez and drummer Hirshfield, pushes the narrative in unexpected directions. Since moving to NY in the late 70s. Lee has worked with Chet Baker, Lee Konitz, Zoot Simms, Al Cohn, Freddie Hubbard, Red Rodney, Kenny Werner, Joe Lovano to mention a few. Bill Smith of JazzTimes comments on One Thought (SCCD 31687) ,” Leader and bassist Scott Lee offers simple yet thought-provoking music …. Those who feel that jazz is losing its creative edge should hear this album and other basically mainstream offerings of the last few years .”
Acclaimed guitarist Craig Brann joins forces with tenor saxophone virtuoso Greg Tardy for an electrifying new release on SteepleChase. This album showcases Brann’s signature melodic storytelling and Tardy’s expressive phrasing, creating a dynamic interplay between guitar and saxophone that is both adventurous and deeply rooted in jazz tradition.
“As a guitarist, Brann continually reshapes his sound… When a musician has the capacity to do just about anything, the choices he makes are critical. Here, Brann and his quintet never put a foot wrong." (Mark Corroto – All About Jazz on SCCD 31847 Lineage)
Since the time vibraphone was invented in 1921 (could be 1916) there has been an impressive and growing list of exceptional practitioners of this mallet instrument. And one of them is Tony Miceli whom Victor Schermer of All About Jazz describes as, “a vibraphonist of astonishing virtuosity, musical resilience, and inventiveness. His vibes playing is nothing short of phenomenal.”
Miceli performs and gives masterclasses in the US and abroad. This is Tony Miceli’s leader debut album on SteepleChase.
Steve Swallow who is one of the pioneers of electric double bass in jazz noted that Millhouse “is using it to help define and refine what the electric bass can do to refresh jazz music.” Eminent practitioner of this unique six-string instrument Millhouse as bassist and guitarist in one creates again on this second album with the saxophone trio format refreshing and formidable jazz.
“With the rich saxophone and drum sounds the 6 strings incorporates chord playing techniques and moves around freely showing the way electric bass should be in modern jazz.'' (K. Harada- Bass Magazine on SCCD 31942 Unwinding)
THE CELEBRATED PIANIST JACKY TERRASSON, HAILED BY THE NEW YORK TIMES AS "ONE OF THE THIRTY ARTISTS POISED TO SHAPE THE TRAJECTORY OF AMERICAN CULTURE," UNVEILS "MOVING ON". BACK IN FRANCE AFTER THREE DECADES IN NEW YORK, HE ORGANIZES A DOUBLE NATIONALITY TREASURE HUNT, MIXING CHOPIN AND JAZZ, WITH GUEST ARTISTS SUCH AS KAREEN GUIOCK-THURAM, CAMILLE BERTAULT AND GRÉGOIRE MARET. WITH A NEW-FOUND JOIE DE VIVRE, EACH PIECE TELLS AN ADVENTURE, A STORY, A DELICATE CELEBRATION OF HAPPINESS.
Introduced in The New York Times in 1994 as "one of the thirty artists poised to shape the trajectory of American culture in the following three decades," pianist Jacky Terrasson has lived up to this acclaim by becoming the most widely heard French jazz musician on digital platforms. Born in Berlin in 1965 to an American mother and a French father, he pursued studies in classical piano in France before enrolling at the Berklee College of Music. In 1993, he clinched the prestigious Thelonious Monk Institute of Jazz International Piano Competition.
He began his career alongside luminaries such as Betty Carter, Dee Dee Bridgewater, Cassandra Wilson, Charles Aznavour, Guy Lafitte, Barney Wilen, and Ray Brown. Terrasson made his mark. Signing with the legendary Blue Note label under the stewardship of its iconic president, Bruce Lundvall, he embarked on a remarkable 25-year journey of success. An indefatigable globetrotter, he graces the stages of the most illustrious jazz and piano festivals across Europe, the United States, South America, and Asia.
"Moving On," the title of Jacky Terrasson’s new album perfectly sums up the new aspirations "of the most traveling of jazz pianists, a pianist of happiness" (Telerama). After being the muse of the majors (Blue Note & Universal), it is a new adventure as an artist producer and a new path that Jacky Terrasson decided to begin by creating his own label (Earth Sounds). It is also, after 30 years spent in New York, his choice to live again in France, the country where he grew up. But also continue to play regularly on the American continent, a subtle treasure hunt between leaving and returning to the two countries of his dual nationality. It also means offering two trio recording sessions (in France and New York) for the same record with numerous guests: the singers Kareen Guiock-Thuram and Camille Bertault, the harmonica player Grégoire Maret, and the drummers Billy Hart and Eric Harland. And finally, fully embrace his thirst to bring together a Chopin prelude with a jazz standard (Besame Mucho), to invite a bird recorded in Borneo which becomes a piece (Edit Piaf), to write and compose music for his friends (Are you following me, put into words by Camille Bertault), for his desires (Love Light), his travels (AF 006), and to be happy (Happy by Pharell Williams like a fireworks display almost bringing together all the musicians on the album). Behind each title hides an adventure, a story, depth, and the desire to always want to enjoy life with delicacy.
15 titles, including 8 exclusive to the CD edition.
After the 45-year world jungle expedition, guitarist/composer/chieftain
Pierre Dørge takes his tribe to its home turf Copenhagen’s fabled Jazzhus Montmartre to record live their latest album filled with all but one new vibrant compositions by Dørge.
Donald Elfman of AAJ once remarked, “Pierre Dørge has what seems like a magical ability - he can re-imagine and re-think the way that music is voiced thus creating entire new worlds out of worlds we think we know.”
Yes, Brouqui is French and a phenomenal guitarist/composer and this is his SteepleChase debut album. But no, this is not of French Gypsy tradition. He is out of pure American modern jazz vein with a touch of French elegance. He commutes between Paris and NYC performing and recording.
“A warm jazz full of swing. His inspired and fast guitar interprets with assurance and sensitivity. We will savour the creative breath of his improvisations…. highly recommended.” (Claude Olberg - Jazz Magazine)
A long-awaited release that features the late guitar master at his most lyrical and inventive was recorded in January 2017 but held back until now. This session led by vibraphonist Tony Miceli is a poignant tribute to Vic Juris’s boundless musicality and deep connection to the jazz tradition. Inspired by the spirit of Django Reinhardt and the Hot Club legacy, the quartet reimagines classic French repertoire with fresh arrangements and modern interplay. The interpretations of “Nuages” and “La Vie En Rose” are especially moving, revealing a depth of emotion that resonates even more powerfully in light of his passing. Miceli, who spearheaded the project, recalls Juris’s uncanny ability to absorb and reproduce any tune—“like an iPod with soul.”
This recording, lovingly restored by SteepleChase producer Nils Winther, transforms what was once a shelved session into a sonic gem. It stands as both a celebration of Vic Juris’s artistry and a testament to the enduring power of collaboration.
Incidentally Miceli’s witty and heartfelt liner notes reads as an ode to Vic the stellar artist.
A Timeless Form, Reimagined for Today With Ya Man Itha, Lebanese singer Rima Khcheich brings to life an album she has carried in her heart for decades. It is a deeply personal tribute to the late Egyptian composer Fouad Abdel Majeed, whose music shaped her artistic voice from an early age. In this recording, Rima revisits ten of Abdel Majeed's Muwashahat-classical Arabic vocal compositions often set to poetry and marked by intricate rhythms and modes-and places them in dialogue with the colors and sensibilities of French chanson. At first glance, chanson may seem far removed from the Arabic Muwashah, yet both traditions share a deep commitment to poetic expression, lyrical nuance, and the marriage of words and harmony. This cross-cultural resonance became the spark for the ensemble's refined arrangements, created by Maarten Ornstein, Tony Overwater, and Juan Rodriguez.
At the heart of this project lies "I Loves You, Porgy," a timeless composition from George Gershwin's 1935 folk opera Porgy and Bess. The melody, built on just five simple notes, is unforgettable-a testament to Gershwin's genius. Inspired by it's charm, we decided to center our album around this piece. While "I Loves You, Porgy" has been a staple for countless jazz musicians, our approach was not merely to improvise on it. Instead, we aimed to create "variants"-transformative interpretations that grew from this iconic piece. It's a unique exploration inspired by Geroge Gershwin.
New York’s ace trumpeter Joe “Mags” Magnarelli’s third outing on SteepleChase is condensed to a quartet format with trumpet as the sole frontline giving the leader new dimension and depth to define his voice.
His previous release (SCCD 31939 New York-Osaka Junction) received enthused remarks “…he is particularly outstanding, demonstrating a brilliant clarity that could be called the height of sophistication.” (Catfish-Records, Japan) and “Magnarelli has always been a jazzman-of-all-work, good in small groups like this one and great at starring in big bands and he's on fire here” (JazzWise-Peter Vacher UK)
WARM TO THE TOUCH is the recorded result of my labor-of-love project that is all about creating connections between my percussion instruments and as many other instruments as possible. In order to create a strong sense of closeness and intimacy, these connections are made with one, and sometimes two, instruments at a time, so each track is either a duet or a trio. My musical partners in this adventure are nothing short of the top players in Dutch classical music and jazz. This high level of skill is essential because the compositions are challenging, both technically and in terms of musical choices.
Many of us old-timers remember George “Big G” Coleman in the late 50s and 60s performing with almost every single legendary name in that golden era of American jazz, a.o. Miles Davis. Coleman who turns 90 this year is still going strong and surrounds himself with the elite artists of younger generation including the leader of this album Brian Charette (Hammond-B3).
This album can be seen as the sequel to 2018’s “Groovin’ With Big G” (SCCD 31857) again with Charette in charge of keeping the music flowing.
“This is a mellow date, a blowing date to be sure but Charette’s B-3 rarely goes the funk route and is closer to Wild Bill Davis. Coleman’s tenor is as strong as ever and while not aggressive, it is still forceful.” (Papathomas on SCCD 31857)
Master drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means "chapter" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis. With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords. Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From it's conception, the trio immediately started developing it's unique essence. With this project, master of rhythm Stephane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.
Pierre-Antoine Savoyat couldn't have found a better title for this second album! Thanks to his subtle way of contemplating and embellishing space and sound as a composer and as trumpet player, Thousand Shades of a Clown reveals personal and refreshing music with a kaleidoscopic imagination, effervescent with colours and emotions. The veil of the clown's mask gradually *fades away* to reveal the essence of his art: tenderness, generosity and humility. Much like a sleeping volcano, we enjoy a poetic quietness always bounded with a boiling energy underneath the surface. Sometimes, Pierre-Antoine allows us to witness an unannounced eruption, before returning to a feeling of deep peace through the beauty of a masterful sound. His characteristic kindness probably hides a passionate fire and his humanist commitments in search of truth are never far away; perhaps even constituting the lifeblood of this work in which the stories of his life untangle and detangle. His desire to make the world a more wonderful place is expressed through the poetry of lyrical musical gestures, supported and propelled with intensity by his faithful accomplice, pianist Simon Groppe, a true chameleon of the keyboard. Their surprising and precise articulations are extended with equal finesse by Fil Caporali on double bass and Oscar Georges on drums, forming a perfectly harmonized quartet. Between his solitude and the absurdity of the world, Savoyat has forged a masterful and compelling musical language, bringing with him guests with boundless imagination and crystal-clear ideas, true nuggets of pure gold like those old-time-alchemists dreamed of: Alexandra Grimal, with her majestic saxophone sound; Lucia Pires, with her light and dauntless flute; and Lynn Cassiers, captivating with her unique vocal and artistic universe. Therefore, the album takes on a plural form in a counterpoint of shared stories, styles and times without ever losing the coherence of a common discourse. Pierre-Antoine weaves the whole together with the care of a goldsmith and through his fluid and mysterious intonations - where the 'between' naturally becomes the 'inside' - he blossoms into space like a tightrope walker defying the laws of gravity. Each piece of music has it's own specific touch; the titles speak for themselves, sprinkled with melancholy and filled with warmth. Comforting like a refuge where you are always In good company - as in the lyrics of Lynn Cassiers - this album could even become one of those with which you live, breathe, and through which you open the windows of your inner universe to get closer to the light in a world that has become far too dark.
Emerging from the Strasbourg scene and the Omezis collective, which includes about twenty artists, musicians, DJs, and videographers, Emile Londonien soaks up the English jazz scene of the last fifteen years and offers up a personal version. Trained at the Strasbourg Conservatory, the three musicians met during thematic evenings organized by the Omezis collective, co-founded by drummer Matthieu Drago. A studio session paying tribute to the English scene followed in 2020. The moniker Emile Londonien, a double nod to their UK influences and to a famous French saxophonist, sprang up spontaneously. The Covid-19 pandemic put the project on hold until their recordings fell into the hands of Dope Tone, the historical Strasbourg broken beat label, and then things started to accelerate. Influential DJs like Lefto immediately shared the tracks from this first session. Thus, emblematic of a generation that grew up in club culture, the band was launched, blending that very culture with the jazz trio tradition. Regularly playlisted on the BBC, their first productions found an enthusiastic echo, and the praise poured in, starting with that of the influential DJ and producer Gilles Peterson himself, who sees them as heirs: "I saw these guys recently live. They are a sort of celebration of the last 10-15 years of the UK jazz scene... It's a crossroads place." Unknown until a few months prior, the band played Sète's Worldwide Festival, the Montreux Jazz Festival in the summer of 2021, and Nancy Jazz Pulsations, confirming on stage all the good that was already clear from listening to their recordings. Influenced by Yussef Kamaal, The Comet Is Coming, Atjazz, SunRa, and also Ornette Coleman or Thelonious Monk and by the Broken Beat, Jazz, House, and Hip Hop scenes, Emile Londonien perfectly incarnates this "next gen" French jazz alongside Léon Phal, whose sound is close to theirs. Beyond labels, they mix tradition and contemporary music with ease, as measured on the dancefloor.
Master drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means "chapter" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis. With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords. Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From it's conception, the trio immediately started developing it's unique essence. With this project, master of rhythm Stephane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.
Emerging from the Strasbourg scene and the Omezis collective, which includes about twenty artists, musicians, DJs, and videographers, Emile Londonien soaks up the English jazz scene of the last fifteen years and offers up a personal version. Trained at the Strasbourg Conservatory, the three musicians met during thematic evenings organized by the Omezis collective, co-founded by drummer Matthieu Drago. A studio session paying tribute to the English scene followed in 2020. The moniker Emile Londonien, a double nod to their UK influences and to a famous French saxophonist, sprang up spontaneously. The Covid-19 pandemic put the project on hold until their recordings fell into the hands of Dope Tone, the historical Strasbourg broken beat label, and then things started to accelerate. Influential DJs like Lefto immediately shared the tracks from this first session. Thus, emblematic of a generation that grew up in club culture, the band was launched, blending that very culture with the jazz trio tradition.
Regularly playlisted on the BBC, their first productions found an enthusiastic echo, and the praise poured in, starting with that of the influential DJ and producer Gilles Peterson himself, who sees them as heirs: “I saw these guys recently live. They are a sort of celebration of the last 10-15 years of the UK jazz scene … It’s a crossroads place.” Unknown until a few months prior, the band played Sète's Worldwide Festival, the Montreux Jazz Festival in the summer of 2021, and Nancy Jazz Pulsations, confirming on stage all the good that was already clear from listening to their recordings. Influenced by Yussef Kamaal, The Comet Is Coming, Atjazz, SunRa, and also Ornette Coleman or Thelonious Monk and by the Broken Beat, Jazz, House, and Hip Hop scenes, Emile Londonien perfectly incarnates this “next gen” French jazz alongside Léon Phal, whose sound is close to theirs. Beyond labels, they mix tradition and contemporary music with ease, as measured on the dancefloor.
