ALL YOU CAN BEAT

FAMILY AFFAIR

COME TO ME

TRACTEUR HAMMER

THAT WHICH IS PLACED UPON THE ALTAR

BEST LAID PLANS

When Oscar Peterson arrived for a two-week engagement at Baker's Keyboard Lounge in Detroit in early August 1960, the pianist's year-old trio, featuring bassist Ray Brown and drummer Ed Thigpen, was ascending to new artistic peaks. Intended at the time as a live album for Verve but never released, the music on 'At Baker's Keyboard Lounge' features remarkable, previously unissued performances, all taped on a single Friday night. No matter the tempo, rhythm, or complexity of the arrangement, the three players breathe as one on these recordings, phrasing as if controlled by a single heartbeat. These new-to-the-world recordings, made in Peterson's prime at the longest continuously operating jazz club in the US, remind you that there will never be anyone else like Oscar Peterson.

With HOMETOWN, trumpeter and composer Jared Hall brings listeners into a musically rich reflection on place, purpose, and artistic growth. Born in Spokane and seasoned by vibrant creative communities from Bloomington to Miami and Seattle, Hall returns to his roots with a lyrical voice shaped by decades of performance and collaboration. Here, he celebrates the grounding power of family, shared history, and the joy of reconnecting with the people and experiences that shaped him. From the clever nods to jazz lineage in "Step by Step" and "Echoes and Origins," to the wistful inspiration behind "Room 111," this recording maps Hall's journey with clarity, heart, and unwavering musical intention. Supported by a stellar quintet - including saxophonist Troy Roberts, pianist Ben Markley, bassist Michael Glynn and drummer Kyle Swan - HOMETOWN unfolds with both rooted tradition and forward-looking spirit. The result is resonant and compelling. "There is truth here, unabashed, direct to the listener." - All About Jazz. "... Hall's expressive, probing trumpet style, offers a masterful, wide ranging sound, and varied emotional landscape." All About Jazz

SHAKE THAT BOOGIE: LIVE IN BREMEN 1989

Abate Berihun & The Addis Ken Project's Addis Ken (New Day) is a deeply evocative journey where jazz becomes both vessel and invocation. Drawing from Ethiopian Jewish liturgical traditions, pan-African rhythms, and modern improvisational language, they fuse ancient memory with contemporary expression in music that feels timeless and urgent all at once. Berihun's commanding tenor and soprano saxophones are matched by his remarkable vocal presence-earthy, elastic, and prayerful-capable of moving seamlessly from guttural incantation to soaring, skyward cries. Joined by pianist Roy Mor, bassist David Michaeli, and drummer/percussionist Nitzan Birnbaum, the quartet operates with intuitive empathy, shaping grooves and atmospheres that breathe and expand around Berihun's impassioned lead. Moments such as the stirring "Behatitu Kadush Kadush," featuring vocalist Rudi Bainesay, reach directly into sacred terrain, while pieces like "Addis Ken" and "Jerusalem" balance reverence with forward momentum. Rich in texture, spirit, and blues-rooted intensity, Addis Ken is music as lived experience-honoring lineage while speaking vividly in the present tense. "They are a joy to behold." Jerusalem Post. "The quartet of brilliant musicians drew inspiration not only from across the planet but also from the depths of time." - Tom�š S. Pol�vka (Prague)

CANDY STORE BLUES: THE SINGLES & ALBUMS COLLECTION

The Soul Stirrers - Never Turn Back: The Singles Collection 1940-49 / The Soul Stirrers were one of the most noted gospel groups of the post-war decades, although they were formed as long ago as the 1930s, becoming one of the innovative groups during the 1940s who moved from the traditional "flatfooted" highly arranged quartet style towards the freer "hard gospel" style of the new era. They are perhaps most famous for the period during the 1950s when the future soul legend Sam Cooke was with the group and got a hugely significant grounding the business, but among cognoscenti they are equally renowned for this period, when their lead singer was Rebert "R.H." Harris, who introduced the "swing lead" style as two singers exchanged lead vocals to build emotional intensity. This 48-track 2-CD collection comprises releases on the Bronze, Down Beat, Harlem and 20th Century labels during this era followed by most of their substantial body of recordings made for the Aladdin label from 1947 to 1949 before they joined the Specialty label, and were joined by Sam Cooke. They were one of the most influential gospel groups of the day and this collection offers, we hope, a substantial, inspiring and uplifting showcase for their bold and distinctive approach to gospel music during what was a golden era for the genre.

The Chevalier de Saint-George is in many respects an exceptional figure. Born in Guadeloupe in the eighteenth century to an aristocrat and an enslaved woman, he received in Paris the education of a court gentleman: violinist, fencer, Freemason, participant in the Revolution, and conductor, he was also a composer. It is naturally to the violin that he dedicated his finest works, among which the concertos, marked by a virtuosity that is both unbridled and graceful, stand out in particular. Romuald Grimbert-Barr� and the Orchestre national de Cannes pay tribute to this extraordinary life by pairing the Op. 5 and Op. 8 concertos with Thierry P�cou's Concerto Hommage � Joseph Bologne, Chevalier de Saint-George. Through it's many biographical references, the work offers multiple poetic points of entry into the life of this singular and fascinating figure, who remains far too little known today.

He is a stylish and fluent improviser and these early titles are an enjoyable showcase for his distinctive approach to jazz guitar.- Kenny Burrell is an American modern jazz guitarist, composer, bandleader and educator, born in 1931 and still alive at the age of 94 as these notes are being written. Making his recording debut in 1951, he became a valued and versatile sideman, recording and performing prolifically for over 65 years through to 2015, in a huge variety of recording settings. He also recorded and performed leading his own bands, and quite early in his career recorded a number of sessions under his own name for Alfred Lion's Blue Note label, from which came his first albums, all taking advantage of the opportunity for extended performances on the new LP format. This 21- track 2-CD set comprises titles from those sessions for Blue Note during his early years as a bandleader, and features all the titles from the Blue Note albums "Introducing Kenny Burrell", "Kenny Burrell" and "Blue Lights Vol. 1" and most of the titles from the album "Blue Lights Vol. 2". Musicians in his groups include tenor saxophonist Frank Foster, pianists Tommy Flanagan, Duke Jordan and Bobby Timmons, bassists Oscar Pettiford, Paul Chambers and Sam Jones, drummers Shadow Wilson, Kenny Clarke and Art Blakey, trumpeter Louis Smith, tenor saxophonists Frank Foster, Junior Cook and Tina Brooks and percussionist Candido Camero. He is a stylish and fluent improviser and these early titles are an enjoyable showcase for his distinctive approach to jazz guitar.

GOODBYE STRAWBERRY HILL

VOLUME

Acoustic guitar masters from East and Central Africa, an expansion of Mississippi's beloved African Guitar Box project. In 1979 and 1980, a young British-Kenyan musician named John Low hit the road to learn finger-style guitar from his heroes. He traveled across Kenya, Tanzania, Congo, and Zambia. He visited giants like Jean-Bosco Mwenda, Losta Abelo, and Emmanuel Mulemena, whose records sold hundreds of thousands of copies across the continent in the 1950s and 60s. He also documented brilliant but previously under-recorded artists like Tanzania's Francis Kitime and Kenya's Mtonga Wanganangu. Regardless of status, John approached each artist humbly, as a student. He recorded in homes, village squares, and watering holes. The sessions are intimate and casual, the artists at ease. It's a transporting and profound listening experience - children laughing, glasses clinking, the thump of the Marantz cassette deck, and John's single mic moving through space, sometimes documenting the vocals, sometimes zeroing in on the right hand against the strings. Five decades later, these practice tapes provide a rare glimpse into how fingerstyle guitar was actually played for family and friends, outside the tense confines of commercial studios. Some of these songs appeared on John Storm Roberts' out-of print Original Music compilations, which inspired the African Guitar Box. Others have never been made publicly available. All have been expertly restored and remastered from the original tapes by Andrew Walter (Honest Jon's, Abbey Road). John Low's liner notes and lyric translations provide insights into the recording context, and Tanzanian music scholar John Kitime's intro gives the musicians' perspective. Licensed from John Low and the artists, pressed at Chicago's Smashed Plastic.

First transforming the iconic music of Cedar Walton into stellar big band arrangements, followed by a dive into the idiosyncratic rhythmic mastery of Ari Hoenig, pianist and composer Ben Markley's two big band albums displayed a formidable voice, always searching for challenges while reveling in surprise. With Tuesday Morning Feeling, Markley steps decisively into his own voice, delivering seven originals and several new arrangements of Thelonious Monk and Cedar Walton. He balances authority and openness, pairing strong melodic ideas with flexible frameworks that invite conversation, risk, and momentum. The band itself is a blend of long-standing Front Range collaborators and world-renowned guest artists, including Terell Stafford, Steve Nelson, Steve Davis, Bijon Watson, and David Wong, whose presence adds both fire and depth to the ensemble sound. Solos burn, the ensemble breathes as one, and the rhythmic engine never loses sight of swing. Tuesday Morning Feeling captures a big band in it's stride: grounded, evolving, and driven by the joy of making music. "a depth of melodicism and harmonic sophistication at work amidst rhythmic brilliance" DownBeat"classic big band sounds, an upbeat take on the format, full of adept arrangements and intricate soloing" DownBeat

BEAT ME DADDY: THE SINGLES COLLECTION 1939-47

3ELEMENTS: CONVERSATIONS OF HOPE