The recordings on this release are chosen from three terrific evenings at Montmartre in October 2015, during Kenny’s second visit to Copenhagen. “Those of us who attended the concerts witnessed the great affection that developed between Kenny and the audience; the public simply wouldn’t let him leave the stage,” writes Christian Brorsen, music director at Jazzhus Montmartre. A smiling Jacob Christoffersen distributed warmth from behind the piano, and bassist Jesper Bodilsen and Zoltan Csorsz easily join the magnificent musical union. Brorsen also writes ”Kenny has a lot of heart and exudes a kind of warmth rarely encountered. Along with possessing perfect pitch and presiding over a repertoire that seems practically endless, he is a sensational singer—and a greater entertainer than he realizes!” Kenny Washington is an authentic virtuoso who exposes new facets of himself every time he performs. The quintet extracts new warmth from classics such as “Do You Know What It Means to Miss Orleans” an excel on the title track “Moanin’”. Kenny’s talent puts him among the world’s best jazz vocalists—at the very top of the list!
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.
Just in Time, is a long-overdue spotlight on one of jazz’s most quietly influential pianists. Recorded in 1989 with Bob Cranshaw on bass and Kenny Washington on drums, this trio session captures Willis’s lyrical touch, harmonic depth, and rhythmic sophistication in full bloom.
Willis’s career began with a voice solo in Aaron Copland’s The Second Hurricane under Leonard Bernstein, but jazz soon claimed him. By 19, he was playing with Jackie McLean and Hugh Masekela, and later with Stan Getz, Cannonball Adderley, and Blood, Sweat & Tears. His style—rooted in Bill Evans, Wynton Kelly, and Herbie Hancock—melds cerebral modernism with soulful hard bop.
The album features a mix of standards and originals, including the swinging title track, the introspective “Soul Search,” and the Monk-inspired “T’s Bag Blues.” His Latin-tinged “Te Quiero Mi Hermano” and homage to Herbie Hancock on “One Finger Snap” reveal a pianist deeply attuned to rhythm and tradition.
Critic Russ Musto writes, “Considering the pianist’s continuous growth in forty years of playing, I’d say its timing is prime. I’ll take it now. And look to the future for more.” Willis himself praises Cranshaw’s ballad work and calls Washington “perhaps the finest young drummer to come along in a long time.”
G1251 is not just timely—it’s timeless. A must-have for collectors and a revelation for new listeners.
“…Larry Willis plays piano with style, soul and a constant stream of heart.” (Jerome Wilson, Cadence)
