Duke Ellington gained fame all over America by performing live on the radio from the Cotton Club, Harlem's elite nightclub in the 1930s. Bandmates include Johnny Hodges, Cootie Williams, Juan Tizol and Ivie Anderson. These are some of those radio recordings from 1937 to 1939.
Wayne Shorter once said “To hell with the rules, I’m going for the unknown”. This is what we did on this recording. No talks about tunes, keys, solos, tempos—as a matter of fact Jean-Michel and Marilyn hadn’t even played together before. We just started playing to see where the music would take us - and as you can hear it was quite a trip. We did two long sets and occasionally a tune would emerge - but most of the time we where in unchartered waters, taking us to places we haven’t been before. This is the ultimate way of improvising. Why then is the album called Composing? Well - Arnold Schoenberg also once said “Composing is improvisation slowed down”. This album is compositions in realtime. - Mads Vinding
To begin a CD with an unaccompanied intro to a ballad indicates some confidence from the main soloist on this excellent double CD with the young talented American pianist Christian Sands in the company of the two Danes bass player Thomas Fonnesbæk who is said to be the next NHØP and a Montmartre legend the drummer Alex Riel. The music is recorded live in Jazzhus Montmartre, Copenhagen in October 2014. The three musicians had never met before, but already on the first evening they found their common beat and developed it through the next two concerts, which naturally led to the best takes being collected for this double CD.
Viento Zonda is Eric Vloeimans' new adventure that exudes the warmth of the Argentine breeze along the Andes. The gentle, even tickling sensation surprises as Eric and his musical brother, the virtuoso pianist Juan Pablo Dobal take the listener to new aural delight. Eric Vloeimans has been active in a wide variety of ensembles all over the years. He has toured the US twice with his acoustic 'chamber/jazz' 'Fugimundi' trio, featuring the surprising Anton Goudsmit on guitar and rising star Harmen Fraanje on piano. Their broad repertoire ranges from contemporary jazz, hymns, world music to occasional standards, all of which is presented with warmth and wit. His other band is Eric Vloeimans' Gatecrash, which features soundscape master Jeroen van Vliet on Fender Rhodes and keyboards, the inventive Gulli Gudmundsson on bass, electric basses and effects, and the up and coming Jasper van Hulten on drums.
Peter Beets' latest recording announces itself with unbridled authority: a vivid, hard-swinging statement, powered by a first-rate horn section anchored by three standout American voices of the new jazz vanguard, and propelled by a rhythm section of luminaries including Reuben Rogers and Willie Jones III-artists whose resumes include collaborations with legends such as Herbie Hancock, Dianne Reeves, and Roy Hargrove. Under Beets' assured direction, his New York Sextet shapes each work with commanding finesse. In reimagining a canon of Spanish compositions, Beets refracts Spain's musical heritage through a fresh and strikingly modern jazz lens. The album surges with vitality, it's swing taut and irresistible. While echoes of the flamenco idiom surface throughout, they are situated within a broader, architecturally ambitious musical landscape built upon works by Spain's most esteemed composers-Albeniz, de Falla, and Granados. These enduring and powerfully expressive pieces hold their own beside the legacies of Chopin, Gershwin, Rachmaninoff, and Tchaikovsky-composers whose works Beets has similarly reimagined in his inimitable style-yet remain unmistakably and proudly Spanish. Beets and his ensemble weave these traditions into a seamless dialogue with uncompromising, straight-ahead jazz, executed at the highest artistic level. The result is a singular fusion of virtuosity, cultural depth, and ensemble brilliance. Once again, pure Peter Beets.
Strangers is pianist Alexander Wienand's bold new statement - a celebration of curiosity, discovery, and the creative spark that emerges when artists step into the unknown together. The album's concept grew from a simple but powerful idea: that unfamiliarity can be one of the greatest sources of inspiration. Whether it's an untested rhythm, a new musical partner, or an idea outside of music entirely, these moments of uncertainty challenge musicians to respond - and it is within these reactions that true creativity is born. The title track Strangers embodies this philosophy. Two contrasting themes evolve through improvisation until they merge into a single, unified musical narrative - a metaphor for encounter, tension, and transformation.
Quality Time in NYC is a vocal jazz project by Erik Leuthauser, recorded in New York with esteemed collaborators such as Alan Broadbent, Ken Peplowski, Allen Farnham, Steve LaSpina, and Rich DeRosa. The album features 19 tracks, including standards, rare gems, and one bonus track with Erik's original German lyric to Miles Davis's "Little Willie Leaps"
In Good Company marks the powerful debut of Argentine alto saxophonist Tomás Martínez on SteepleChase in June 2026. At just 26 Martínez brings a rich tone, agile bebop phrasing, and a deep command of jazz tradition. The album features two standout groups: a New York quartet with Michael Weiss, David Wong, and Kenny Washington, recorded at the legendary Van Gelder Studio, and a vibrant trio session from Buenos Aires with Paul Sikivie and Teo Pérez. Mixing classics, bebop lines and originals, Martínez honors mentors like Charlie Parker, Barry Harris, and Charles McPherson while asserting a voice entirely his own. A fresh, swinging new presence on the international jazz scene.
Martínez has performed at major venues across Argentina and Europe, and was named a Distinguished Personality and Cultural Ambassador of his hometown. He is also an active educator, teaching jazz saxophone at the college level and leading workshops and masterclasses.
Currently based between Buenos Aires and New York, he continues to perform, record, and teach.
Peter Beets' latest recording announces itself with unbridled authority: a vivid, hard-swinging statement, powered by a first-rate horn section anchored by three standout American voices of the new jazz vanguard, and propelled by a rhythm section of luminaries including Reuben Rogers and Willie Jones III-artists whose résumés include collaborations with legends such as Herbie Hancock, Dianne Reeves, and Roy Hargrove. Under Beets' assured direction, his New York Sextet shapes each work with commanding finesse. In reimagining a canon of Spanish compositions, Beets refracts Spain's musical heritage through a fresh and strikingly modern jazz lens. The album surges with vitality, it's swing taut and irresistible. While echoes of the flamenco idiom surface throughout, they are situated within a broader, architecturally ambitious musical landscape built upon works by Spain's most esteemed composers-Albéniz, de Falla, and Granados. These enduring and powerfully expressive pieces hold their own beside the legacies of Chopin, Gershwin, Rachmaninoff, and Tchaikovsky-composers whose works Beets has similarly reimagined in his inimitable style-yet remain unmistakably and proudly Spanish. Beets and his ensemble weave these traditions into a seamless dialogue with uncompromising, straight-ahead jazz, executed at the highest artistic level. The result is a singular fusion of virtuosity, cultural depth, and ensemble brilliance. Once again, pure Peter Beets.
Human Vibe is the sound of three musicians whose shared understanding runs deeper than geography. Pianist Jan Gunnar Hoff, bassist Jasper Somsen, and drummer Carsten Lindholm come from three different countries, yet their friendship and musical intuition make them feel like lifelong companions. In this trio, a glance, a breath, or a single musical gesture is enough to set the group into fluid, unified motion. A Trio Shaped by Conversation and Connection For their second album together, the trio reunited in the Netherlands, where long conversations over lunches and dinners flowed directly into their creative process. Out of these moments came the title Human Vibe-a phrase that perfectly captures the essence of their collaboration: three individuals, each with his own artistic pulse, meeting in a shared space where honesty, curiosity, and joy guide the music. Their performances embody the same spirit. They speak openly with audiences, share stories, and create an environment where listeners feel personally connected to the unfolding music. The album was recorded at Studio 2 in Hilversum, the Netherlands' oldest radio studio and a place rich with musical history. Photographs of legendary jazz artists still hang on the walls, creating an atmosphere steeped in the past. Hoff, Somsen, and Lindholm recorded exactly the way they play live: together in a single room, in full view of one another. The result is an album that captures not only the music, but the trio's closeness and immediacy.
Celebrating its legacy from the 1976 LP and 1990 CD release, Stable Mable returns in May 2026 as a newly remastered 180g audiophile edition (G1040). Captured in Copenhagen just weeks after Dexter Gordon’s ambitious orchestral project SCCD 31030 More Than You Know, this session strips the setting back to its purest form: a no frills blowing date where Gordon’s imagination, authority, and melodic wit shine without disguise. Joined by Horace Parlan, Niels Henning Ørsted Pedersen, and Tony Inzalaco, Gordon navigates standards like Just Friends, Misty, Red Cross, and So What with a mix of relaxed confidence and fiery invention. His soprano reading of In a Sentimental Mood adds a rare, reflective touch. Remastered from the original tapes, this edition highlights the quartet’s clarity, swing, and interplay—an essential snapshot of Gordon’s Copenhagen years and a definitive statement of his enduring mastery.
“...Dexter plays brilliantly on every track ...beautifully recorded..”(Jazz Journal 1976)
