2024 release. BRASIL, the new album by Lee Ritenour and Dave Grusin is a showcase for the unique talents of two of the most successful and influential musicians of their generation. It has been an enduring friendship and collaboration, from playing the famed Baked Potato in Los Angeles in the 70s, to collaborations on Dave's records and films and Lee's albums, plus years of touring together on the biggest stages. Guitarist Ritenour and pianist Grusin began their fervent involvement in Brazilian music half a century ago. And, as boldly demonstrated on BRASIL, their new studio recording in several decades dedicated to the genre, their passion remains unabated. BRASIL is a bracing survey of contemporary Brazilian sounds featuring some of that country's most notable young musicians. Also spotlighted are the talents of Swiss born harmonica ace Gr�goire Maret and Brazilian vocalist and composer Ivan Lins, whose album Harlequin with Ritenour and Grusin won a GRAMMY� Award in 1986. Ritenour and Grusin have made an indelible mark in the music industry. With the release of BRASIL, they continue to exemplify how their longevity and success is tribute to their ability to stay on the pulse of the music scene today. "Brazilian music continues to permeate the world," Lee observes. "So, now was the right time and inspiration to go to Brazil and do this recording." And their musical magic continues!

As the title suggests, the recording Tenorlee finds Lee Konitz, the great American saxophonist, playing exclusively on tenor. It was a spontaneous decision, and a tribute to his dear friend, Lighthouse All-Star saxophonist Richie Kamuca, who had passed away just days before Konitz entered the studio for these sessions. Konitz classically trained on the clarinet, but switched to jazz saxophone after being enamored by Lester Young. By 1945 the 18 year old Konitz was performing professionally. He made a staggering 150 albums as a band leader over the course of his long and storied career. He played and recorded with everyone from Dave Brubeck, Charles Mingus, Ornette Colman, Elvin Jones, and Gerry Mulligan, to Elvis Costello, Brad Mehldau and Charlie Haden. Between 1948 and 1950, he was a member of Miles Davis' group, and participated in the recordings that would eventually be collected and released as Birth of The Cool. With a trio featuring Lighthouse All-Star alum Jimmy Rowles on piano and Michael Moore on bass, Kontiz called out old and familiar songs. The intention was to "let the tunes happen" as only finely tuned jazz musicians of certain experience can. Of note is "Lady Be Good" which finds Konitz and Rowles quoting Lester Young's solo from the 1936 recording with Count Basie. From 1978, originally on the Choice label, this album has been remastered and is presented here as the artist intended, with it's original title, track order and album artwork, for the first time since it's original release. Remastered by Alex McCollough at True East Mastering. Vinyl cut by Jeff Powell at Take Out Vinyl.

JAZZ MONEY, the 2024 debut album from multi-instrumentalist, composer, and producer Zacchae'Us Paul is an irreverent, fresh take on "America's classical music" that speaks to the 24 year old artist's deep-beyond-his-years understanding of Black music and the African diaspora. Paul stretches and bends jazz sounds around the Atlanta hip-hop he grew up with, the gospel sounds and philosophies that have long shaped his music making, and the Caribbean rhythms he learned studying in Puerto Rico. He has created a wholly personal sound that is youthful, and thoughtful all at once. "When you listen to this album, listen to it again," Paul says. "A lot of the songs have multiple meanings, and I'd love for people to have different perspectives on them." Made with a cast of improvising upstarts and veterans that includes the album's executive producer, Terri Lyne Carrington, fellow Atlanta native and Candid recording artist Morgan Guerin and Paul's fianc�e and star vocalist Melanie Charles, Jazz Money is jazz music for this, and future, generations.

In July of 1960, in protest against what they considered the failings of the jazz scene and the accelerating commercialization of the annual Newport Jazz Festival, Charles Mingus and Max Roach staged their own "rebel" festival at nearby Cliff Walk Manner, RI. The rebels set up their own tents for sleeping, built their own stage, handled advertising, promotion, ticket taking and MC duties. By all accounts the concert was wholly inspired and a peaceful affair. Meanwhile, what was supposed to be an alternative festival turned out to be the only one in town. Unable to disperse an intoxicated mob of young people seeking access to the sold-out show at Freebody Park, the actual Newport Jazz Festival ended abruptly in a full scale riot. Despite the fact that these sessions were held in the studio, the music reflects the high-spirited freedom of the best jazz played at the original setting with nearly all of it improvised during the recording. Of particular note is the Booker Little track "Cliff Walk," which features both Max Roach and Jo Jones, two of the greatest jazz drummers ever, trading off. The LP includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances. This recording is remastered by legendary mastering engineer, Bernie Grundman.

How Time Passes - Don Ellis - A fascinating blend of jazz and contemporary classical influences, How Time Passes is the debut album from the envelope pushing trumpeter and composer Don Ellis. Known for his extensive musical experimentation, particularly in the area of time signatures, Ellis began his long career in the New York City's post bop and avant-garde jazz scenes of late 1950s. Most notably he appeared on Charles Mingus' Mingus Dynasty, and albums by George Russell and Maynard Feguson. But he also worked with, among others, the Glenn Miller Orchestra, Lionel Hampton, and Woody Herman. On subsequent albums, Ellis would take an even wilder direction. Here, on his first recoding date as a band leader, the experimentation begins. Ellis stretches the boundaries of bop-based jazz playing with time, tempo and meter. It is the start of his exploration of Third Stream - a fusion of jazz and contemporary classical music. The album title itself - How Time Passes - was taken from an article written by the controversial German composer Karlheinz Stockhausen on the "function of time." The exceptional section features Ron Carter on bass, the underrated Jaki Byard on piano and saxophone, and Charlie Persip on drums. The LP includes extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and noted musician, historian and writer Gunther Schuller - the originator of the term "Third Stream" - giving a context and insight that adds to the experience of hearing these extraordinary performances.

Softpack Wallet - Remastered by Bernie Grundman. Recorded November 15, 1960 at the Nola Penthouse Sound Studios in New York, Lightnin' In New York captures the legendary bluesman in classic form, including some rare solos on the piano. Produced by Candid Records label co-founder, famed music critic and social activist, Nat Hentoff, and recorded at a time when Hopkins was being "rediscovered" by white audiences, the bluesman was reluctant in accepting his new role as an "artist" before predominantly white audiences.

Limited 180gm vinyl LP pressing. Out Front is probably the greatest realization on record of trumpeter Booker Little's scope as a musician and composer. It is also one of only five sessions led by Little as a band leader before his premature death at the age of 23 in 1961. The fact that this is only Little's third outing as a leader is further testament to the talents of this young artist. Arguably, the seven original compositions here might be more widely known today had his life not been so tragically cut short. Little is mostly known for this association with Max Roach, who he began playing with as early as 1955. But it was not until 1958 that he officially joined Roach's outfit and began recording with him. Little made 8 albums with Roach between 1958 and 1961. And it is Roach's ground breaking We Insist! Album that is the precursor to the Out Front sessions, as this is where Little's talents fully caught the attention of Candid Records' A&R and producer Nat Hentoff. The sextet on these dates include the great Max Roach on drums, Eric Dolphy on reeds, and Julian Priester on drums. At the time, a growing number of younger jazz artists were exploring ways to further expand the range and depth of communication in jazz. This album is a perfect example of that "new wave." Born in Memphis, Little started out on trombone and then clarinet before taking up the saxophone. While studying formally at the Chicago Conservatory, Little met Sonny Rollins, who was notably a huge influence on Little's development as an artist, and who introduced him to Max Roach. Recorded at the Nola Penthouse Sound Studios, in New York City and produced by Hentoff in the spring of 1961, the album was released just months before Little's passing

In July of 1960, in protest against what they considered the failings of the jazz scene and the accelerating commercialization of the annual Newport Jazz Festival, Charles Mingus and Max Roach staged their own "rebel" festival at nearby Cliff Walk Manner, RI. The rebels set up their own tents for sleeping, built their own stage, handled advertising, promotion, ticket taking and MC duties. By all accounts the concert was wholly inspired and a peaceful affair. Meanwhile, what was supposed to be an alternative festival turned out to be the only one in town. Unable to disperse an intoxicated mob of young people seeking access to the sold-out show at Freebody Park, the actual Newport Jazz Festival ended abruptly in a full scale riot. Despite the fact that these sessions were held in the studio, the music reflects the high-spirited freedom of the best jazz played at the original setting with nearly all of it improvised during the recording. Of particular note is the Booker Little track "Cliff Walk," which features both Max Roach and Jo Jones, two of the greatest jazz drummers ever, trading off. The LP includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances. This recording is remastered by legendary mastering engineer, Bernie Grundman. A1. Mysterious Blues 8:35 A2. Cliff Walk 9:37 B1. Wrap Your Troubles In Dreams 3:47 B2. Tain't Nobody's Bizness If I Do 7:11 B3. Me And You 9:46

PHIL WOODS / RIGHTS OF SWING - Rights of Swing (Remastered) Phil Woods - When he first came on the scene, Phil Woods was often referred to as "The New Bird," in a nod to the legendary Charlie Parker. A testament to his genius on the saxophone to be sure. But while obviously indebted to Parker - as all modern jazz saxophonists of a certain era were - there is no question that Phil Woods was an original. After earning a degree in music from Juilliard in the early 1950's, Woods found himself in the orbit of the great Quincy Jones. At Jones' invitation Woods joined Dizzy Gillespie's infamous Jazz Ambassadors - a tour sponsored by the US State Department as part of a global cultural diplomacy initiative - and subsequently became a member of Jones' own touring band. This recording, his 9th album as a band leader, consists entirely of Woods' five-part Rights of Swing Suite. An ambitious large-scale composition based solidly on jazz traditions. A culmination of the influences the then 30 year artist had absorbed. Arguably considered one of Woods finest recordings, the record features a stellar section made up of Wood's fellow Quincy Jones band members. (It should be noted that these same musicians, for the most part, are also the section on Benny Bailey's Candid Records recording, Big Brass, recorded a a few months prior in November of 1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in January and February of 1961, and conducted by Quincy Jones. The LP includes extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and in-depth commentary from Woods himself, giving a context and insight that adds to the experience of hearing these extraordinary performances.

Vinyl LP pressing. Carrington's very first session, TLC & Friends features an epic and enviable lineup of collaborators, including Kenny Barron on piano, George Coleman on saxophone, and Buster Williams on bass. Her father Sonny Carrington also contributes saxophone to the Sonny Rollins classic "Sonnymoon for Two." The album masterfully showcases Carrington's artistry as a drummer and composer, highlighted by the standout original track "La Bonita," a refreshing interpretation of Billy Joel's beloved composition, "Just The Way You Are," alongside scorching renditions of standards like "Seven Steps To Heaven," and "What Is This Thing Called Love."

2022 release. For the 2018 opening celebration of the Berklee Institute for Jazz and Gender Justice, Teri Lyne Carrington asked her students to select and perform songs from the famed jazz Real Book - a compilation of lead sheets or scores of jazz standards - written by women composers. When she realized there was only one in the entire book, Carrington, a Grammy Award winning virtuoso jazz drummer, composer, inter-disciplinary artist, activist and educator, who has worked tirelessly over the last decade to advocate for inclusivity and raise the voice of women, trans and non-binary people in jazz, set out to shift the narrative. Over the next several years, Carrington assembled New Standards, a book of 101 jazz compositions written by women. New Standards Vol. 1 captures 11 of these compositions. This star-studded recording features special guests Ambrose Akinmusire, Melanie Charles, Ravi Coltrane, Val Jeanty, Samara Joy, Julian Lage, Michael Mayo, Elena Pinderhughes, Dianne Reeves, Negah Santos and Somi, backed by a core section comprised of Carrington (drums), Kris Davis (piano), Linda May Han Oh (bass), Nicholas Payton (trumpet), and Matthew Stevens (guitar).

180gm Tip-on Jacket Remastered by Bernie Grundman. 1992's A Walkin' Thing is the last of three albums the great American organist Shirley Scott recorded for Candid, and her final recording before her passing. First and foremost, Scott was a trained pianist, and it should be noted that towards the end of her life, she gravitated more to that instrument. But here, Scott returns to form, making this recording bitter sweet. Recorded in 1992 at the at the famed Van Gelder Studio in Englewood Cliffs, New Jersey and engineered by Rudy Van Gelder. This recording has been remastered by legendary mastering engineer Bernie Grundman.

In 1993 Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - unveiled the second incarnation of the Elektric Band. With the brand new lineup of guitarist Mike Miller, bassist Jimmy Earl and drummer Gary Novak, and saxophonist Eric Marienthtal (the lone holder over from the first iteration of the Elektric Band,) Corea, approached this ambitious outing in the same way he had done everything throughout his career, by pushing the boundaries of what modern jazz is. With material written with these specific players in mind, Corea gathered this group of remarkably flexible musicians into Mad Hatter Studios in Los Angeles. Recorded almost entirely live in first takes, the album is notable for it's "less is more" approach to Corea's particular style of genre bending composition. Though the focus may have been more on acoustic piano than synths, the same proficiency, spontaneity, impeccable execution and jaw-dropping display of chops that characterize the five first Elektric Band albums applies. Of special note here is the inclusion of the track "Final Frontier", originally released exclusively on the Japanese and European editions. This all out burner is the lone tune on the record featuring Corea on a synthesizer. Written as an answer to "Got A Match" from 1986's The Chick Corea Elektric Band album, it's an uptempo showcase for the players to stretch out and the kind of track that exemplifies the jazz fusion that Corea and his groups came to define.

JAZZ MONEY, the debut album from multiinstrumentalist, composer, and producer Zacchae'Us Paul is an irreverent, fresh take on "America's classical music" that speaks to the 24 year old artist's deep-beyond-his-years understanding of Black music and the African diaspora. Paul stretches and bends jazz sounds around the Atlanta hip-hop he grew up with, the gospel sounds and philosophies that have long shaped his music making, and the Caribbean rhythms he learned studying in Puerto Rico. He has created a wholly personal sound that is youthful, and thoughtful all at once. "When you listen to this album, listen to it again," Paul says. "A lot of the songs have multiple meanings, and I'd love for people to have different perspectives on them." Made with a cast of improvising upstarts and veterans that includes the album's executive producer, Terri Lyne Carrington, fellow Atlanta native and Candid recording artist Morgan Guerin and Paul's fianc�e and star vocalist Melanie Charles, Jazz Money is jazz music for this, and future, generations.

Led by musical director Scotty Barnhart, the Count Basie Orchestra keeps Basie's unmistakable style alive and thriving around the world. In the great traction of the Basie Swings albums comes this explosive album of collaborations with some of the greatest living blues and jazz artists, Basie Swings The Blues. In preparation for these sessions, Barnhart took a pilgrimage to the Mississippi Delta to immerse himself in the land where blues began. The resulting album is joyful mix of downhome blues with the deep swing and sophistication that only The Count Basie Orchestra can provide. As Count Basie famously once said, "our blues will make your blues go away." Produced by Barnhart along with Grammy-winning producer John Burk (Ray Charles Genius Love Company), and Grammy-winning drummer/producer Steve Jordan (The Rolling Stones), the album brings together Buddy Guy, Bobby Rush, Keb' Mo', Shemekia Copeland, Robert Cray, Charlie Musselwhite, Betty LaVette, Ledisi, George Benson, and others to bring the blues and swing back together for a set that jumps and jives with an energy not heard since Louis Jordan and T-Bone Walker lit up stages in the '40s and '50s.