THREE STORIES is Eldar's first solo piano album for Masterworks Jazz. Originally trained as a classical pianist, Eldar turned his attention to jazz in the beginning of his career but always hoped to combine the two worlds. THREE STORIES reflects the Grammy-nominated pianists existing love for jazz, his growing passion for classical, and his evolution as a composer, thus: THREE STORIES. THREE STORIES showcases the merging of Eldar's worlds: classical, jazz and his own compositions which are influenced by his training in both genres.

VIRTUE, the new recording from jazz keyboard virtuoso Eldar, affirms his position at the forefront of contemporary jazz and is a fitting follow- up to his 2008 Grammy nominated album, re-imagination. Partnered by bassist Armando Gola and Ludwig Afonso, VIRTUE features mostly original compositions by Eldar and demonstrates the continued development of his writing. Eldar also welcomes guest appearances by trumpeter Nicholas Payton and saxophonists Joshua Redman and Felipe Lamoglia.

Long considered as one of the Big Apple's most in demand sidemen, in recent years alto-tenor saxophonist Dick Oatts has stepped out as a leader. In this his fifth effort as a leader for SteepleChase seven out of the eight tunes are originals. The band is anchored by his long time rhythm section of Dave Santoro on bass and James Oblon on drums. On three of these tunes he is joined by SteepleChase stalwart pianist Harold Danko whom he first met and played with in the Thad Jones/ Mel Lewis Orchestra in the late seventies. Ken Dryden of the AMG All Music Guide describes Oatts as having a "fat confident tone." Indeed this is a saxophonist extrordinaire whose instrumental prowess is matched only by his compositional abilities.

Another historical recording from one of the most prolific groups in jazz. Recorded live in Montreaux, in 1974, Kabalaba captures the Art Ensemble during a very strong period for the group. With Muhal Richard Abrahams featured as a special guest, this is a very rare treasure. Kabalaba was originally released on vinyl independently on the Art Ensemble's own label (AECO) in the 70's and reissued on CD in limited quantities. This is the first time that this treasure will be widely available.

C. Andrew Hovan of AllAboutJazz once observed, “What has marked all of Stryker's previous SteepleChase sides has been his penchant to not repeat formats or ideas. Each session sports a different group of musicians and the material covers new ground.” Mr. Hovan’s observation proves true here on Stryker’s latest recording of mesmerizing organ quintet with repertoire raging from Michael Jackson to Clifford Brown together with his originals. “(Stryker) combines tradition and modernity in equal balance, arranges with skill and imagination, teases optimum performances from associates with good-natured relish, and plays the blues with deep felt conviction.” (Mark Gardner – from the liner notes)

In his new album “Lookin’ Up” Dick Oatts teams up with his colleague and friend of 34 years, veteran trombonist John Mosca. Dick Oatts notes, “I’ve always liked the way alto sax and trombone blend together and I’ve always been meaning to do a CD with John but the music was never quite right for it. So I sat down over the holiday break and wrote the music around John, the alto and the trombone.” Derek Taylor of Master of a Small House describes Dick Oatts’ previous release “Two Hearts (SCCD 31694) as “testament to Oatts’ improvisatory powers”.

A brilliant sequel to the highly acclaimed Standard Issue (SCCD 31439) of 1998, this volume has a welcome addition of pianist Harold Danko on three of the five tracks. In the warm atmosphere of live house, the band gets extra energy from the appreciative audiences. Dick Oatts’ personal sound on alto sax (and tenor sax on one track) is once again a real treat for all listeners.

Ronnie Cuber (b. Dec. 25, 1941 in Brooklyn, New York), recognized as one og the most important baritone saxophonists in jazz today, has been composing, arranging and leading his own groups since 1959. His powerful command of the instrument led him to perform and record with amazing array of influential artists in almost all thinkable range of musical spectrum. Yet, this is the very first of basic jazz trio album by Ronnie Cuber, which should have a special place in his discography. “There is not one of his records that contains any half-hearted playing or musical skating. When he plays, it’s serious creative business and he tells a story. If you pick up anything under Cuber’s name, you’re guaranteed a winner …. This recording, ”Ronnie”, released on SteepleChase records, is one of the most vivid and personal saxophone playing ever done on a baritone saxophone. This CD is a shining example of Cuber’s big, beefy baritone sax tone and a fluent technique that is a one of a kind match between the gritty, down-home feeling of R&B and the advanced harmonies of bebop.” (JazzTimes on SCCD 31680 “Ronnie”)

Limited 180gm vinyl LP pressing in gatefold jacket. After appearing together at an all-star concert the night before, Ella Fitzgerald and Louis Armstrong went into an L.A. studio to record this gem of an album. Despite having little to no time for rehearsals, the sublime artistic mastery of Ella and Louis and the instant chemistry they achieved resulted in one of the few truly indispensable recordings in all of jazz. Verve's Acoustic Sounds Series features transfers from analog tapes.

Double 180gm vinyl LP pressing housed in gatefold jacket. The duo that critics have called "a match made in heaven" are in peak form on the sequel to their 1956 debut. Ella's voice - warm and sweet as honey - and Louis' gravelly croon formed a sound built for commercial success. Ella & Louis Again is a key element of what could be considered the most iconic jazz duo of all time. Verve Acoustic Sounds Series features transfers from analog tapes.

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)

Ella Fitzgerald - "Let No Man Write My Epitaph (Verve Acoustic Sounds Series)" - Verve Label Group; Jazz; Considered one of Ella's greatest recordings, she's backed on this 1960 release by pianist Paul Smith. Let No Man Write My Epitaph was a 1960 Hollywood movie featuring Fitzgerald. The album hits at a rare depth of emotional understanding and once again establishes Fitzgerald as one of the supreme interpreters of the Great American Songbook. Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Jazz critic Owen Cordle once described Dick Oatts as “an uncompromising jazz musician, one who possesses monster chops without trumpeting them.” Dick Oatts has, since his move to NYC in the late 70s, been one of the most sought-after soloists on alto sax on both the NY scene and the international stage. Dick Oatts’ sensitive and cerebral approach to music enhanced by his “monster chops” manifested here again on his 11th leader album on SteepleChase. “… maybe the best showcase we've ever heard for the alto sax work of Dick Oatts!” (Dusty Groove on Sweet Nowhere SCCD 31778)

“…The late Whitney Balliett dubbed jazz as "the sound of surprise". Well, Jack Walrath surprises us here on every selection. He deals in the unexpected and delivers it to us with a flowing flourish - and no concessions.” (Mark Gardner- from the linernotes) “Jack Walrath not only displays tremendous trumpet playing, a rich and varied approach to composition and wonderful band, he also puts something into this fantastic CD that's missing from too much new jazz: a sense of fun and humor. That's not to say that it isn't sensitive and touching at times—"An Hour Blessed" is arguably as gorgeous as anything ever recorded…” (Francis Lo Kee – allaboutjazz-New York)