Ronnie Cuber appeared on more than 200 albums in his long and active career of 60 years performing wide range of style and format. This new album finds Ronnie fronting organ/drums/guitar ensemble probably for the first time in 40 years.
“Best of all, there’s Cuber himself, whose playing has, incredibly, grown more authoritative with each passing year. His sound, huge and affable, brims with personality, and it’s hard not to be awed by the freshness and wit he brings to chestnuts such as “St. Thomas” and “Honeysuckle Rose,” or the lyricism with which he imbues “All the Things You Are.” (J.D. Considine – JazzTimes on SCCD 31860 “Ronnie’s Trio”)
The first attempt went awry. When Nat and his older brother Julian 'Cannonball' Adderley tried to start a quintet in the mid-fifties, hardly anyone was interested in the newcomers from Florida. And that, in retrospect, was good. Because the trumpeter Nat landed in this way in the bands of Jay Jay Johnson and George Shearing, and there refined, under expert guidance, his art of elegant blues-bopping ensemble playing. The alto saxophonist Cannonball in turn became Miles Davis' counterpart to tenor saxophonist John Coltrane for a good four years, a time he later described as the most artistically important of his life. When the brothers came together again in 1959, they had both matured and were ready to lead one of the most successful jazz bands of the 1960s. Unlike experimental colleagues who tested the limits of music, but more and more lost their audience, the Cannonball Adderley Quintet managed to reach a large audience with hits like "This Here", "Work Song", "Jive Samba" and above all "Mercy, Mercy, Mercy". No wonder, then, that a wave of applause greeted the Cannonball Adderley Quintet in the Liederhalle Stuttgart in 1969. Completed by bassist Victor Gaskin and drummer Roy McCurdy, they had brought with them just the right repertoire.
Celebrating its legacy from the 1976 LP and 1990 CD release, Stable Mable returns in May 2026 as a newly remastered 180g audiophile edition (G1040). Captured in Copenhagen just weeks after Dexter Gordon’s ambitious orchestral project SCCD 31030 More Than You Know, this session strips the setting back to its purest form: a no frills blowing date where Gordon’s imagination, authority, and melodic wit shine without disguise. Joined by Horace Parlan, Niels Henning Ørsted Pedersen, and Tony Inzalaco, Gordon navigates standards like Just Friends, Misty, Red Cross, and So What with a mix of relaxed confidence and fiery invention. His soprano reading of In a Sentimental Mood adds a rare, reflective touch. Remastered from the original tapes, this edition highlights the quartet’s clarity, swing, and interplay—an essential snapshot of Gordon’s Copenhagen years and a definitive statement of his enduring mastery.
“...Dexter plays brilliantly on every track ...beautifully recorded..”(Jazz Journal 1976)
The Hierophant is a spectacular new suite of Zorn compositions drawing inspiration from the mystic world of the Tarot. Scored for classic jazz piano trio, the music is powerful and varied, hitting upon a wide range of styles, emotions and moods. Passionately performed by three members of Zorns inner circleBrian Marsella (piano) Trevor Dunn (bass) and Kenny Wollesen (drums) these magical and moving pieces are not like any piano trio you have ever heard. Thrilling and beautiful mod- ern chamber music featuring three new music virtuosos at the very height of their powers!
Another magical summer night of 1967 from the Jazzhus Montmartre in Copenhagen finds Dexter Gordon in company of drummer Art Taylor who heats up the evening’s temperature.
“Dex's idiosyncratic spoken intros to tunes like "I Should Care" and "Come Rain or Come Shine" are charming, and the gritty soulfulness of his playing reminds us just how much we miss the greats of his generation. They don't make 'em like this anymore.” (JazzTimes’ Chris Kelsey on Loose Walk SCCD 36032)
“…a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc's face value. But casual listeners will probably also be pleasingly surprised by the calibre of this classic conclave.” (Derek Taylor of AllAboutJazz on Lady Bird SCCD 36035)
After a short stay in New York, Dexter returned to his favourite city of Copenhagen in June 1965 and resumed his career’s best and most productive period. This second volume of electrifying live recording finds Dexter with his all-time favourite rhythm section.
With his quartet of almost 10 years’ close working relationship, Harold Danko gets the chance to engage his talent both as performer and as composer to the fullest. In this latest album composer Harold Danko invites us into his impressionistic night.
“Harold Danko’s Nightscapes are drawn with insight and beauty and with his own distinctive touch of mystery….” (Mark Gardner – from the liner notes.)
In the summer of 1965 Dexter Gordon spent most of his evenings performing at Jazzhus Montmartre packed with his loyal fans. Five of these evenings were broadcasted by the Danish Radio and SteepleChase is making them all available for the first time.
This CD captures high-spirited Dexter on the third night.
This CD captures high-spirited Dexter on the third night.
Pianist/Leader/Composer/Educator are a few of the hats worn by Harold Danko. Here he leads his quartet (with special guest Dave Ballou on trumpet) as an interpreter of Eric Dolphy's music. In its seventh recording for SteepleChase, the Harold Danko Quartet explores nine tunes penned by Dolphy.
Danko's previous effort for SteepleChase ("Night Scapes" SCCD 31490) has received much praise from critics everywhere.
"A hauntingly beautiful collection of eight lambent vignetts" (Chuck Berg, Jazz Times, June 2001)
"Danko's solos are wonderfully evocative and impressionistic throughout." (Ron Netsky, Rochester City News, March 2001)
"Danko is a thoughtful composer/player whose tasteful themes are awash in musical riches" (Jack Bowers, Cadence Magazine, September 2001).
After a short stay in New York, Dexter returned to his favourite city of Copenhagen in June 1965 and resumed his career’s best and most productive period. This is the first volume of magnificent live performances from Dexter’s favourite club “Jazzhus Montmartre” in 1965.
Highly unusual jam of three bassists. This jam session is all about “a celebration of a wondrous and indispensable voice in just about every jazz ensemble.” (Mark Gardner). On previous SteepleChase Jam Session series, CD Review’s Rick Finlay wrote: “… SteepleChase’s series of jam sessions drawing together the cream of the contemporary jazz world makes a refreshing change these days .… highly recommended.”
Bassist/composer Ron McClure’s previous release “Soft Hands” (SCCD 31615) was an unusual drum-less trio setting about which Will Smith of JazzTimes wrote, “The quiet and easygoing togetherness of bassist Ron McClure’s Soft Hands, with tenor saxophonist Rich Perry and pianist George Colligan, will find listeners overlooking the absence of a drummer. …”.
On this new recording the same group is expanded into a quartet with an addition of drummer, Billy Drummond who is met with immediate and unanimous enthusiasm (Ron McClure).
Dexter Gordon’s most creative and prolific years were spent in Europe in the 1960s and the first half of 1970s. Right until the great homecoming (to USA) of 1976 Dexter had performed frequently in Copenhagen’s famous Montmartre Jazzhus.
Many of the nights were broadcasted by Danish Radio and later released by this label (The Dexter In Radioland series).
This latest Gordon album recorded 1974 is special because of the fact that - except for a few tracks which were broadcasted - that night the whole concert of the evening has never been made available to the public before. And Dexter makes this concert even more special with his display of relaxed yet intense power of creativity.
On Dexter’s 2004 release Loose Walk SCCD 36032 Chris Kelsey of JazzTimes wrote, “…the gritty soulfulness of his playing reminds us just how much we miss the greats of his generation. They don't make 'em like this anymore.”
After his active performing/recording period in the 80s and 90s Stanley Cowell has devoted his enormous talent in music education at the renowned Rutgers University in New Jersey, USA.
Cowell’s previous release SCCD 31704 “Prayer For Peace” in 2010 was his first album in over a decade which evoked Mike Shanley of JazzTimes to comment, “… his phrasing, chordal voicings and use of space are impeccable….a hard-swinging trio never goes out of fashion…”
Here on his new album Stanley formed a new trio with his two former students from Rutgers University to reveal that he remains a master of his material and instrument.
Pianist Harold Danko brings back his successful “Trilix” trio to present another essential trio treats here. On “Trilix” Donald Elfman of All About Jazz wrote, “When a piano trio—or any jazz group, for that matter—is at the top of its game, all of the qualities that make its individual members shine come to the fore but also work in the service of both the tunes and the larger aesthetic of the group. Danko, Formanek and Hirshfield make a vitally engaging, intelligent and musical trio album. “
The fifth and the last volume of “Montmartre Jazzhus 1965” Series turned out to be a reunion of Blue Note’s 1964 release “One Flight Up” team. Dexter Gordon was apparently enjoying the presence of the younger trumpeter Donald Byrd one year after their first encounter in a Paris studio.
“ … Dexter and Donald again achieved an excellent blend and a relaxed outing … The two horns made for a nice contrast, with Byrd’s bright, melodic lines set beside Gordon’s robust outpourings.” (Mark Gardner)
Gordon/Bailey Co. dazzles us again with their powerful live performance on this third volume from the Swedish tour of 1974, which previously produced two highly successful CDs: SCCD 31290 “Round Midnight” and SCCD 31373 “Revelation”.
“... all Dexter’s recordings from this time are particularly creative, especially with a soloist of Bailey’s calibre at his elbow to drive Gordon” (Mark Gardner)
"...recorded in the early stages of Dexter's residence with the SteepleChase label...This may have been Gordon's great period, surpassing in some ways his earlier years with Blue Note...Dexter is relaxed and confident..." (Krin Gabbard, Cadence)
George Cables has proved again to be one of the most imaginative trio performers of today’s jazz scene with this his latest CD.
“Listening to this absorbing recital by Mr. Cables, it seemed to me that he now epitomises the best of jazz mainstream piano. Here is a session which even the untutored lay listener can enjoy, with the familiarity of most the songs helping the process….” (Mark Gardner from the liner notes)
Harold Danko, the mastermind of this two-saxophone quintet project has dreamed of uniting Rich Perry’s tenor with Dick Oatts’ alto for at least quarter of a century.
Danko was already an established member of Thad Jones/Mel Lewis Orchestra when Dick and Rich joined them as new saxophone wonders, “who made a lasting impression on everyone who heard them…” (Harold Danko)
Bassist/Composer Ron McClure chose a drum-less trio format for his new outing for SteepleChase exposing himself into a more demanding role. “It would have been risky business trying some of these pieces without drums with most players, but with Rich Perry and George Colligan, I knew that there was no reason to worry. “ (Ron McClure – form the liner notes)
