With Generations, his eighth Criss Cross outing as a leader, trumpeter Alex Sipiagin honors the legacy of the great Woody Shaw, with five stellar pieces from Shaw's repertoire and balancing the program with four originals. The quartet lineup here Sipiagin, guitarist Adam Rogers, bassist Boris Kozlov, drummer Antonio Sanchez at one time formed the core of the brilliant Michael Brecker Sextet. Together, these four players bring years worth of mutual collaborative experience to the music at hand. Woody Shaw himself appeared just once on Criss Cross, lending his extraordinary horn voice to Introducing Kenny Garrett (CRC 1014) in 1985. Shaw's influence has long been implicit in Sipiagin's playing - not only in the Russian-born trumpeter's work as a leader, but also in his scorching solos with Dave Holland's Big Band and Octet, the Mingus Big Band, the late Michael Brecker's Sextet and Quindectet and many more. With Generations Sipiagin makes his debt to Shaw more explicit, but he approaches these canonical works with his own individuality and imagination foremost in mind, in the determined spirit of Shaw's song title: Beyond All Limits.

When it comes to New York's top-shelf gigs, few pianists get the job done like David Hazeltine. Much sought for his sensitivity as an accompanist, Hazeltine is also an inventive composer and arranger who is able to bring a fresh approach to the mainstream. For his eighth set as a leader for Criss Cross, the pianist brings his talents to the fore with three originals, including a dedicatory for Cedar. Rounding out the set are a few select standards including a new twist on Dizzy Gillespie's Tin Tin Deo. Longtime collaborators Eric Alexander (tenor sax), John Webber (bass), and Joe Farnsworth (drums) mix it up with expert vibist Steve Nelson for a colorful set that puts all of Hazeltine's wares on full display.

For his sixth Criss Cross release, trumpeter Alex Sipiagin focuses more heavily on his own writing than on 2005's Returning. Clearly rooted in the jazz tradition, Sipiagin's compositions continue to evolve his distinctly modernistic approach to harmony, meter and form. Eminently approachable despite their inherent depth and complexity, Sipiagin's five compositions remain as focused and lyrical as his playing. Sipiagin reinvents Thelonious Monk's Epistrophy and Bill Evans' rarely covered Orbit (Unless It's You), both seamlessly fitting within his musical universe while remaining true to their essence. Prints is a definitive statement from an artist whose star continues to rise.

On Wycliffe Gordon's eighth effort as a leader for Criss Cross the multi-talented former Wynton Marsalis and Jazz at Lincoln Center Orchestra trombonist who they call Cone teams up with versatile trumpeter Terell Stafford (aka Staff) in a brassy quintet with a smoking rhythm section that features label regulars, pianist Mike LeDonne and Kenny Washington (back from Gordon's previous date) and the gifted young bassist David Wong, making his first Criss Cross appearance. The players all shine, both individually and as a cohesive unit, on a appealing swing-to-bop program comprised of jazz originals and classics, standards and blues.

Wycliffe Gordon's sixth effort for Criss Cross features the trombonist with the biggest sound around in a program comprised predominantly of original blues. Gordon demonstrates his mastery of that most versatile African American art form, playing slow, fast, sad, reverent and raucous variations, accompanied by his regular working trio of Jazz Messengers alumnus Johnny O'Neal at the piano and the New Orleans rhythm team of bassist Reginald Veal, and drummer Herlin Riley. Joining the quartet, making his Criss Cross debut, is Muskegon Heights and Michigan tenor saxophonist Stacy Dillard, whose deep dark soulful tone perfectly complements the similarly endowed leader.

This is pianist David Kikoski's seventh and perhaps most ambitious recording for Criss Cross. Helping the leader navigate seven harmonically rich originals with melodies that stick are tenor saxophonist Seamus Blake, who performed on two previous Kikoski quartet sessions, and the incomparable bass-drum team of Larry Grenadier and Bill Stewart, each a musician with tonal personalities defined by limitless imagination. All are in peak form.

Since his first appearance on record (Randy Brecker's album, In the Idiom), pianist David Kikoski has demonstrated an infinite capacity to swing, a rare sensitivity as a ballad interpreter and genuine harmonic savvy as a composer. He delivers once again on all counts on Kayemode.

By titling his eighth Criss Cross album Over Here!, trumpeter Jim Rotondi picks up on the sentiments he signified with The Move, his seventh for the label. "It doesn't necessarily mean moving somewhere else, but rather returning home, playing tunes with a lot of straight-ahead swing and interesting chord sequences with guys I'm comfortable with, " Rotondi stated in the liner notes I wrote for that kinetic 2009 recital. The Album was recorded May 10, 2023 at the Artesuono Recording Studio in Udine (Italy). Recording engineer Mike Marciano did the editing, mixing and mastering at Systems Two in NY. Photography by Mauro Cionci

Two CDs. Sun Ra At The Showcase: Live In Chicago contains previously unissued live recordings of the legendary intergalactic composer/pianist Sun Ra captured live at Joe Segal's Jazz Showcase in Chicago, IL. Between 1976 and 1977. This is an official release on producer Zev Feldman's Jazz Detective record label, in partnership with Elemental Music, and in cooperation with the Sun Ra Trust. Researched and compiled by longtime Sun Ra archivist Michael D. Anderson, and transferred from the original tape reels. Liner notes by James Corbett, and interviews and statements from photographer Hal Rammel, Michael Weiss, Marhall Allen, Thurston Moore, Jack DeJohnette, David Murray, Dave Burrell, Matthew Shipp, Amina Claudine Myers, and Reggie Workman.

Limited two CD set includes an extensive booklet with rare photos, liner notes and an archival interview with Sonny Stitt. Boppin' In Baltimore: Live at the Left Bank is a previously unreleased recording of saxophone master Sonny Stitt captured live at the famous ballroom in Baltimore on November 11, 1973. Recorded by Left Bank founder Vernon Welsh, it features an all-star rhythm section of pianist Kenny Barron, bassist Sam Jones and drummer Louis Hayes.

\'Released in the early \'90s, Concert for the Comet Kohoutek captures a typically inspired night by Sun Ra & the Intergalactic Space Research Arkestra. Recorded in late 1973, on this date the Arkestra is guided by a musical theme composed around the idea of the Comet Kohoutek, which was passing close to Earth at the time. Typically, the release vaults between cosmic vocal songs that speak of Truth and other such brashly capitalized affairs (such as \'Astro Black\'), almost straight-ahead big-band jazz arrangements (\'Variations of Kohoutek Themes\'), and frighteningly evil free explorations (\'Journey Through the Outer Darkness\').\'-Jesse Jarnow, AMG Digitally remastered by Joe Phillips with brief liner notes by ESP label founder Bernard Stollman.\' Recorded live at Town Hall, NYC, on December 22, 1973.

Though the term "visionary" is rather overused, it certainly applies to tenor saxophonist and composer JD Allen. A musical sponge of sorts, Allen is a remarkable amalgam of a wide variety of musical styles and influences, blurring the boundaries of contemporary jazz by creating a dynamic fusion of tradition and modernity. There is a decidedly "third stream" quality to Allen's compositions, combining as they do advanced classical compositional techniques, the incorporation of electronic sounds and the distillation of historic jazz genres such as call and response, field hollers and, of course, the blues. This type of music relies on the total dedication of all the performers and Allen's latest recording features three of his regular colleagues, the acoustic and electric basses of Gregg August and Ian Kenselaar and the remarkably expressive drummer, Nic Cacioppo. These men have worked with Allen on his previous Savant recordings, perhaps most notably on the unofficial trilogy of "Americana," "Americana Vol. 2" and "Barracoon," and can be considered kindred spirits with their leader. Together, they delve into themes of culture and history, offering moving narratives through their sophisticated approach and profound improvisational skills.

With his alto sound soaring over a sax trio format on For All We Know, Jim Snidero demonstrates why he is a critical link in the alto saxophone lineage. Snidero pares down the soundscape to it's essence, utilizing a selection of standards to illuminate a rare combination of virtuosity, musicality and depth along with jazz masters Peter Washington-bass and Joe Fransworth-drums. With a tone quality that's second to none-Stereophile cited his sound as "one of the richest and purest on the planet"-Jim Snidero has showcased an enviable resonance in myriad contexts over the better part of the past four decades and 25 previous releases. Now, placing himself in the most exposed setting he's ever inhabited, Snidero reaches the apex on the alto saxophone.

Boston doesn't get enough credit as a jazz town. From the days of the Storyville club and Cambridge-based Transition label to the star factory that is Berklee College of Music, the city stands tall against more celebrated places like Chicago and Detroit. One big part of that high level of creative output is Jerry Bergonzi who, for this date, leads his most Bostonian band in recent memory, reuniting with trumpeter pal Phil Grenadier and drummer Luther Gray. Bassist Harvie S came up from New York for the gig and it was he who suggested guitarist Sheryl Bailey for the album. She completes the Boston connection with her position as the Assistant Chair of Berklee's legendary Guitar Department. "To work with Jerry and study and perform his music is the definition of a dream come true," says Bailey who has played with artists ranging from Ken Peplowski to Shingo Okudaira. Here, Bergonzi has convened a fine band for a compelling album, another feather in Boston's tricorn hat.

Time was when the use of any electronically-generated effects in an artist's work, would immediately brand you as a member of the avant-garde. Eventually, however, jazz embraced the modernism of electronics as people like Rashaan Roland Kirk, John Zorn and classical composers like Edgard Varese took electronics down a less self-destructive and more communicative road. On THIS, tenor saxophonist and composer JD Allen explores the possibilities of electronics+jazz with a set of new compositions for himself, drummer Gwilym Jones and electronics effects wizard Alex Bonney. These works exhibit an astonishingly wide spectrum where you may find modal, blues-infused melodies juxtaposed against startling and provocative electronic effects. There can be a slim line in jazz between being a traditionalist troglodyte and being a radical visionary. On his latest recording, JD Allen has demonstrated that there is a musically satisfying and emotionally fulfilling middle ground.

FAR FAR AWAY is a sonic powerhouse, leveraging every aspect of this magnificent, all-star quintet. Kurt Rosenwinkel's searing, innovative playing is on full display, Jim Snidero demonstrates a broadsword of a sound, and the rhythm section of Orrin Evans, Peter Washington and Joe Farnsworth groove and interact at the highest levels of artistry. Building on the 5-star success (Down beat Magazine) of LIVE AT THE DEER HEAD INN, which included Evans, Washington and Farnsworth, Snidero adds fuel to the fire with the addition of Rosenwinkel's highly influential guitar style. The result is an inspired performance bursting at the seams with musicality and drive. Jim Snidero's six originals create the perfect mix of current trends and tradition. Swing, Latin, and Euro grooves are all represented, yet the album is surprisingly cohesive, flowing from one tune to the next. The classics "It Might as Well be Spring" and McCoy Tyner's deeply relevant "Search for Peace" round out this amazing release.

Together with Americana: Musings on Jazz and Blues, and Barracoon, two of JD Allen's previous Savant releases, Americana, Vol. 2 forms a trilogy of sorts, exploring and encapsulating a universal spirit based in roots and reflection. But despite the profound political, racial, financial and historic issues examined by Allen and company, at the central musical core of all three recordings is the underestimated but crucial role the blues has played in the history of jazz and how it continues to evolve and influence the art form today. On Americana, Vol. 2 Allen continues this investigation with his long-time colleagues Gregg August and Rudy Royston, but is now joined by guitarist Charlie Hunter, who shares not only Allen's interest in the blues and it's legacy, but they also share many similar life experiences. As Allen himself says, "(Charlie's) music brings light to me as a listener. When we met, we found out that we grew up in different areas of the country, but our experiences happen to be very similar. That's Americana right there. I wanted that on this record." Here the blues not only provides a welcome outlet for tension and gentle melodicism but it also gives us an unflinching look into deep-seated and long-lived injustices, particularly via the almost expressionistic utterances of three trio-only tracks. Once again JD Allen shows himself to be a player and composer as remarkable for his directness of communication as he is for the sometimes unforgiving sternness of his message.

In JD Allen's liner notes for Queen City, it becomes clear that he spent a great deal of time thinking about how the pandemic has impacted his relationship with music and specifically his saxophone.  In the notes Allen writes, "Performing music for and with people is what I do and I've come to the realization that an audience of listeners of any size is a part of the music; it's also a shared experience. Covid-19 changed that and forced me to try to remember why I started playing in the first place, the years before I started performing and recording."  The tenor saxophonist's response to his period of introspection is this current recording, a solo saxophone program.  It is a recording full of stark, uncompromising power, affording some rare insight into the psyche of the performer.  This is not a Coleman Hawkins' "Picasso"-toned, I-love-my-horn-and-my-horn-loves-me type of symbiosis.  There is a real sense of confrontation between Allen and his horn and, by extension, the audience which makes for a unique listening experience.  This is not to imply that Queen City is some severe piece of avant garde abrasiveness.  Rather, it encompasses an extraordinarily wide-range of musical languages which communicates an equally broad spectrum of emotions.  Melodies   of ravishing beauty alternate with angular, aggressive phrases to express frustration, anger, resolve, hope, love and acceptance in what may become one of the most personal and revealing recordings to come out of the trying time of Covid-19.

For three decades Mike LeDonne has been an exceptional avatar of the Hammond B3 organ. Forged by his impressive jazz apprenticeship, with the likes of Milt Jackson, George Coleman and Benny Golson, LeDonne comes from a long and distinguished line of masters of that instrument. And for eighteen years, he's lead the Groover Quartet his formidable foursome consisting of tenor saxophonist Eric Alexander, guitarist Peter Bernstein and drummer Joe Farnsworth. Joining the quartet is the great drummer Mike Clark. After collaborations with Herbie Hancock, Christian McBride, Nicholas Payton and others, Clark has influenced a generation of percussionists and brings his own unmistakable style to two tracks on the CD.