A rare meeting of American creative jazz, Brazilian samba and Parisian musical freedom Recorded in Paris in 1969, Aco Dei de Madrugada (One Morning I Waked Up Very Early) captures pioneering American trombonist Grachan Moncur III in a uniquely intimate setting. Best known for his groundbreaking Blue Note albums Evolution and Some Other Stuff, Moncur travelled to France to record for the celebrated Actuel series on the pioneering BYG Records label. Following the powerful New Africa, Aco Dei de Madrugada became his second album for BYG, revealing a more restrained and melodic side of his artistry. For this remarkable session, Moncur assembled an international quartet featuring Brazilian pianist and vocalist Fernando Martins, Brazilian drummer Nelson Serra de Castro and acclaimed French bassist Beb Guerin. Rooted in the gentle sway and subtle syncopation of Brazilian samba, the album blends American creative jazz, European harmony and African-derived rhythms. Moncur's rich, resonant trombone moves between warmth, restraint and emotional intensity, while Martins' delicate wordless vocals bring an ethereal quality to the title track. Across four concise performances - including a distinctive interpretation of Edu Lobo's Brazilian classic 'Ponteio' - the quartet creates a sound that is sensual, spacious and deeply expressive. A lesser-known gem in Moncur's catalogue, Aco Dei de Madrugada stands as a captivating and essential discovery, revealing a richly melodic and deeply expressive side of his music.

The legacy of Joey DeFrancesco was solidified decades ago, not only by single-handedly resurrecting the organ's prominence in jazz, but through the passion and power of every note he played on any instrument he touched. Live at Keystone Korner, the first posthumous album from the legendary organist and multi-instrumentalist following his untimely passing in 2022, was recorded only weeks before his transition and stands as his final known recording as a bandleader-capturing a virtuoso at the height of his ever-evolving innovation. With his extraordinary talents on organ, trumpet, tenor saxophone and a rare vocal feature in the spotlight, it is safe to say Joey's influence on the musical community will resonate far beyond our lifetime, inspiring generations to come.

Vince Guaraldi Trio's LP Jazz Impressions of Black Orpheus was the first by the formation of Guaraldi with Monty Budwig on bass, and Colin Bailey on drums, as Guaraldi's two previous LPs as a leader featured a piano/guitar/bass trio. The album marked Guaraldi's first big break. It includes selections from Antonio Carlos Jobim and Luiz Bonfa's score for Marcel Camus' classic film Black Orpheus, but also an original composition Guaraldi added to fill the LP, titled "Cast Your Fate to the Wind", which became a hit, rising to the Top 20 of the pop charts and earning Guaraldi a gold record as well as a Grammy for Best Original Jazz Composition. THE COMPLETE ALBUM + 2 BONUS TRACKS - 180-GRAM VIRGIN VINYL - LIMITED EDITION

Tenor saxophonist-composer James Brandon Lewis returns with his 3rd scintillating Red Lily offering, following on the impeccable Jesup Wagon (2021) and For Mahalia, With Love (2023). Fresh off his Tenor Saxophonist of the Year win in Downbeat Critics Poll, receiving a Guggenheim Fellowship for Music Composition, and delivering a triumphant week at the vaunted Village Vanguard with his Quartet, James Brandon Lewis is releasing Calling Antonin, each Red Lily project being an homage to & celebration of historical figures who have been major inspirations in JBL's life. The new entry may come as a surprise, as the subject is Antonin Dvorak - the revered Czech composer (1841-1904) who drew inspiration from the folk songs of his own country, and then from the United States where he lived and worked for three years starting in 1892. The music Dvorak created in this critical period is the focus of Calling Antonin, a stunning and seamless application of James Brandon Lewis and the Red Lily band's creative genius to an artist whose imagination similarly knew few boundaries. The album consists of original JBL songs that are either variations of Dvorak pieces, are inspired by them, or have other personal significance. All are rich with stirring, indelible melodies, galvanic rhythms and a celestial feel, with improvisations and ensemble playing that reach for the heavens. Red Lily currently consists of Kirk Knuffke on cornet, Melanie Dyer on violin, Tomeka Reid on cello, Joshua Abrams on bass and Chad Taylor on drums - each a leading light on the American jazz scene. As Michael Beckerman, Dvorak scholar and dean of the UCLA School of Music, writes in the detailed liner notes for Calling Antonin, "the group blends chamber-like textures with the expressive fire of contemporary jazz, forging a language that is both deeply rooted and boldly forward-looking." Red Lily is the unit which JBL calls "regal, majestic and what brilliance would sound like if it was a sound." Jesup Wagon won Album of the Year in the 2022 Downbeat Critics Poll, and For Mahalia, With Love won Album of the Year in the 2023 Francis Davis Jazz Critics Poll. And now Calling Antonin. It's the sound of brilliance, a chef's kiss from James Brandon Lewis to Antonin Dvorak. LP in gatefold jacket with extensive liner notes by Dean of UCLA School of Music, Michael Beckerman & includes download card w/ 2 additional tracks.

Tenor saxophonist-composer James Brandon Lewis returns with his 3rd scintillating Red Lily offering, following on the impeccable Jesup Wagon (2021) and For Mahalia, With Love (2023). Fresh off his Tenor Saxophonist of the Year win in Downbeat Critics Poll, receiving a Guggenheim Fellowship for Music Composition, and delivering a triumphant week at the vaunted Village Vanguard with his Quartet, James Brandon Lewis is releasing Calling Antonin, each Red Lily project being an homage to & celebration of historical figures who have been major inspirations in JBL's life. The new entry may come as a surprise, as the subject is Antonin Dvorak - the revered Czech composer (1841-1904) who drew inspiration from the folk songs of his own country, and then from the United States where he lived and worked for three years starting in 1892. The music Dvorak created in this critical period is the focus of Calling Antonin, a stunning and seamless application of James Brandon Lewis and the Red Lily band's creative genius to an artist whose imagination similarly knew few boundaries. The album consists of original JBL songs that are either variations of Dvorak pieces, are inspired by them, or have other personal significance. All are rich with stirring, indelible melodies, galvanic rhythms and a celestial feel, with improvisations and ensemble playing that reach for the heavens. Red Lily currently consists of Kirk Knuffke on cornet, Melanie Dyer on violin, Tomeka Reid on cello, Joshua Abrams on bass and Chad Taylor on drums - each a leading light on the American jazz scene. As Michael Beckerman, Dvorak scholar and dean of the UCLA School of Music, writes in the detailed liner notes for Calling Antonin, "the group blends chamber-like textures with the expressive fire of contemporary jazz, forging a language that is both deeply rooted and boldly forward-looking." Red Lily is the unit which JBL calls "regal, majestic and what brilliance would sound like if it was a sound." Jesup Wagon won Album of the Year in the 2022 Downbeat Critics Poll, and For Mahalia, With Love won Album of the Year in the 2023 Francis Davis Jazz Critics Poll. And now Calling Antonin. It's the sound of brilliance, a chef's kiss from James Brandon Lewis to Antonin Dvorak.

Missing Times is the seventh release by Ghost Rhythms, a truly exciting electric / eclectic jazz ensemble active in Paris since 2005 who have won numerous awards in their home country. Cool, intelligent and self-assured, they feature morphing drum grooves, catchy bass lines, expressive harmony changes, world music touches and a never-ending succession of dizzying, odd-time polyrhythms. "Despite the musical sophistication and adventure... this music is extremely accessible to a wide swathe of listeners. It's release signals the magnificent arrival of Ghost Rhythms on American shores. Get it now." - AllMusic "

For more than four decades, guitarist Marc Ribot has made a career out of refusing to stay in one place, moving restlessly between jazz, rock, No Wave, singer/songwriter, solo guitar, music for film, Cuban music, and free improvisation, all while leaving an unmistakable imprint on everything he touches. With Hurry Red Telephone, Ribot returns with his first all-instrumental album since 2014's highly-lauded Live at the Village Vanguard, which featured drummer Chad Taylor and the late bassist Henry Grimes. It reunites him with Taylor in an eponymously-named band recorded over two separate sessions: one with tenor saxophonists James Brandon Lewis and Brian Settles with bassists Hilliard Greene; and another with alto saxophonist Briggan Krauss and bassist Sebastian Steinberg (a veteran of Shrek and other Ribot experiments of the early 1990's). Featuring four original compositions by Ribot alongside two by Haitian guitarist and composer Frantz Casseus - Ribot's guitar teacher and an enduring musical influence - the performances reveal all of Ribot's best qualities, by turns volatile, lyrical, abrasive, humorous, and soulful. The band takes it's name from a verse from the poem "Several Tremendous" by Richard Siken, which depicts the poet's efforts to rebuild his ability to write and speak after a stroke robbed him of both. It's an apt metaphor for Ribot's pursuit of a language that reconstructs the music from the ground up. The quartet format gives Ribot and his cohorts the freedom to do just that, continuing the improvisational conversation Ribot and Chad Taylor had begun, while at the same time paying homage to the guitarist's No Wave and free jazz background. Bass and drums provide propulsion and resistance while Lewis, Settles, and Krauss - some of the most remarkable saxophonists on the scene - add their highly individual voices to the exchange. The music is composed, but never contained; it's structures are launchpads for improvisation. The result is a visceral, rollicking, and celebratory tour-de-force.

In early 2021, composer Douglas J. Cuomo premiered Seven Limbs, a collaborative suite with guitarist Nels Cline and the Aizuri String Quartet. This musical interpretation of a Buddhist meditation was performed a handful of times, one of which made an impression on saxophone great Joe Lovano, who asked Cuomo if he could arrange a version of Seven Limbs for him to perform. Five years later, Cuomo and Lovano present a new meditation on Seven Limbs with the accompaniment of the Overlook String Quartet.

Toronto pianist and composer Thompson Egbo-Egbo offers a richly cinematic session on Just A Thought, built around the deep chemistry of his longtime trio with drummer Jeff Halischuk and bassist Randall Hall. Two searching originals sit alongside thoughtful reworkings of jazz repertoire spanning Kenny Garrett, Paul Simon, Bud Powell, Robert Glasper, and Astor Piazzolla, with the Odin Quartet's strings lending several tracks a warmer, more orchestral color. Lyrical, patient, and full of quiet intensity, the album moves between swinging trio interplay and lush, chamber-inflected arrangements, ideal for fans of contemporary jazz piano, cinematic instrumental music, and artists like Robert Glasper, Brad Mehldau, and Fred Hersch.

The early 1990s ushered in a new crop of distinctive young voices in the New York City jazz community. Leon Parker caught the attention of many with his unique approach to playing the drums, often playing with only a cymbal. A complete self-starter and individualist, Parker produced and recorded his first recording, xxx, in a one-shot performance in 1992 with none other than pianist Brad Mehldau and bassist Ugonna Okegwo. Finally getting it's first release, xxx provides an early snapshot on some brash young talent that would go on to shake the jazz world.

Toronto pianist and composer Thompson Egbo-Egbo offers a richly cinematic session on Just A Thought, built around the deep chemistry of his longtime trio with drummer Jeff Halischuk and bassist Randall Hall. Two searching originals sit alongside thoughtful reworkings of jazz repertoire spanning Kenny Garrett, Paul Simon, Bud Powell, Robert Glasper, and Astor Piazzolla, with the Odin Quartet's strings lending several tracks a warmer, more orchestral color. Lyrical, patient, and full of quiet intensity, the album moves between swinging trio interplay and lush, chamber-inflected arrangements, ideal for fans of contemporary jazz piano, cinematic instrumental music, and artists like Robert Glasper, Brad Mehldau, and Fred Hersch.

At Ease with Coleman Hawkins was originally released on the Moodsville label in 1960 and as such is often referred to as Moodsville 7. Featuring prominent saxophonist Coleman Hawkins alongside a stelar line-up of players including Tommy Flanagan (piano), Wendell Marshall (bass), Osie Johnson (drums) it was recorded at the famed Van Gelder Studios. This new edition is presented on 180-gram vinyl pressed at QRP with all-analog mastering from the original tapes and housed in a Tip-On Jacket.

Originally recorded and released in 1960 this newly remastered edition of the Tommy Flanagan Trio, also known as Moodsville 9, is released as part of the new Moodsville Series. Featuring Tommy Flanagan (piano), Tommy Potter (bass) and Roy Haynes (drums), it was recorded at the famed Van Gelder Studio. This new edition is presented on 180-gram vinyl pressed at QRP with all-analog mastering from the original tapes and housed in a Tip-On Jacket.

The Tiberi Tapes opens a door long-whispered about among Coltrane fans: intimate, previously unheard live recordings made by saxophonist Frank Tiberi as he followed John Coltrane through Philadelphia and New York clubs in the early 1960s. Captured on modest reel-to-reel equipment, these performances trade Polish for presence, placing the listener close to the bandstand as Coltrane and his bandmates test, stretch and transform the music in real time. The sound bears the immediacy of it's origins: raw, direct and alive with discovery. For Tiberi, these tapes were study materials, a private archive of harmonic information and musical inspiration. More than 60 years later, they emerge as something larger: a vital chapter in the Coltrane story, preserving the feeling, risk and relentless searching that made the bandstand his truest laboratory. Heard now, the music feels not archival but immediate, a living document of curiosity, discipline and ecstatic momentum. 4-LP set.