MORE INVENTORY ON THE WAY! BLACK, 180 GRAM VINYL. Unreleased concert recording from one of the greatest female jazz organists of all-time, Shirley Scott. This hand-numbered, limited edition double LP set was transferred from the original tapes and is pressed on 180-gram vinyl and features 100 minutes of music packaged in a gatefold sleeve with an extensive booklet with liner notes, rare photos and memorabilia.

Brin Charette is an organ player who has deeply studied the tradition of the instrument and the legends that came before him, yet is constantly pushing the envelope of the instrument's role in modern jazz. This new album, his 20th as a leader, sees Brian focussing on originals inspired by the classic role of the Hammond B3 in jazz & some of it's originators, including Larry Young and Jimmy Smith.

ALEXANDER CLAFFY / GOOD SPIRIT - The 90s brought us a new generation of jazz musicians, dubbed at the time, the 'Young Lions'. Artists like the Marsalis's, Stephen Scott, The Harper Brothers, Nicholas Payton and Joshua Redman brought a new take on the tradition, with musicians that closely studied the jazz icons before them, and presented a neo-classical approach to jazz music. It was a successful way to market these artists, but it definitely limited them in what they played and recorded. 30 years later, we have a rejouvenance in this music, with incredible young musicians coming on the New York scene. Their approach is similar to the young lions era of the 1990's in that there is a deep knowledge and respect for the tradition, virtuostic technique and huge talent, but the artists today also have a greater freedom that harkens back to the 50s and 60s, where they can explore the music deeper, using modern music influences in their production, arrangements, and playing, while still respecting the past. The label system is mostly run by indies now as well, so unlike the 1990s era, jazz artists are way more free to play what is truly in their hearts and minds. This freedom and respect for the past could not be represented any more clearly then on the debut album from this group of musicians. Led by Alexander Claffy and featuring the greatest young jazz musicians in New York, this album is perhaps the best example of the current group of next-gen jazz artists out there. Cory Weeds, the label owner and Producer sums it up with his comments from the liner notes: I've have gone on record many times expressing my discontent that young musicians today do not revere the origins of this music the way they should. But Claffy, Rodriguez, Benack and Glover are all under 30, and their reverence for the masters of this music oozes out of every pore. You can hear it in every note that they play. They're not stuck in the past, but they honor it and, to my ears, it is the most refreshing thing ever. CELLAR LIVE

LIVE AT FRANKIE'S JAZZ CLUB

Limited 180gm vinyl LP pressing. Get Ready marks a return to the roots of the group: a live recording in the comfort of our local club purely for the joy of playing for our fans and supporters. With the social effects of the pandemic lingering in our communities this recording was a chance for us to celebrate togetherness and the special energizing effect of making music with a live audience.

Eric Alexander & Ledonne Mike - Together / Saxophone titan Eric Alexander and Hammond maestro Mike LeDonne come together for an incredible duo record on Cellar Music. With the two principals featured in both solo and duo formats, 'Together' is tethered by the supreme musicianship for which LeDonne and Alexander are known, as well as the comfortable tug of trust and bandstand familiarity. Featuring both original compositions and standards, this recording showcases a special musical dialog between these two modern masters who's long standing friendship and talent enables them to communicate with a kind of musical clairvoyance.

Mike's lyrical playing & musical hospitality inspire a bandstand vibe that opens up to vital performances. To A Star combines a studio session & a live date at Frankie's Jazz Club in Vancouver feat. bassist John Lee & drum legend Carl Allen. Allen's specialty is playing in the chordless trio format and arguably no one does it better. A perceptive and spirited outing by a Canadian treasure.

A Time For Love is a wonderful snapshot of this rapidly developing artist. There are many highlights on this recording. One of them is "On A Misty Night", an elegant song written by Tadd Dameron. It's a perfect composition for Erena and the group. She tips her hat to Sonny Stitt weaving dynamic lines into the fabric of the song. The solos on this tune are wonderful from everyone in this strong crew of first-rate musicians. Listen to Lewis Nash's ride cymbal throughout this track and you will understand why he is considered one of the best! The title track on A Time For Love is a superb song that brings out the best playing in everyone. I love David Hazeltine's melodic musical statement on the tune. Erena comes through with her passionate alto melting into the core of the song, grooving hard throughout. "88" is a heartfelt, upbeat song written for Yasohachi "88" Itoh. In his lifetime he produced recordings for Art Farmer, Roy Haynes, Clark Terry, Count Basie, Hank Jones, Tony Williams, Abbey Lincoln, Terumasa Hino, and many more. Yasohachi's love for jazz and ear for excellent talent moved him to record and produce Erena first three records. He surrounded her with some of the world's best jazz musicians - including Kenny Barron, Christian McBride, Jimmy Cobb, and Ron Carter - and introduced the world to Erena Terakubo in grand fashion! If A Time For Love is your introduction to Erena Terakubo, enjoy going on a musical journey. You will be moved by her skills and passionate sound. As Phil Woods said to after hearing her for the first time, "Who the hell is that?" It's Erena Terakubo! The traditions of this music are in good hands. Through her passion, creativity, and dedication, Erena has already become a world-class jazz musician.

This recording, coalescing around Kirmayer's marvelous guitar playing, band leading abilities with a medium-sized jazz aggregation, as well as his well-developed compositional prowess makes a powerful artistic statement indeed. "I really love the sextet sound," states Kirmayer, "particularly the playing and writing of Benny Golson, Woody Shaw, and such recent manifestations as the 'One for All' band. That said, there is not a lot of guitar present within many of the bands working in this style and so," in a nod to the adage 'necessity is the mother of invention' continues Kirmayer, "I realized that if I was going to hear my guitar within this context, I'd have to write myself in." Which is exactly what he did! Of note throughout is how expressively Kirmayer conveys his deep and thorough knowledge of what musicians often refer to as "the tradition," while simultaneously putting across forward thinking modernity. For me it is this: Kirmayer's ability to reside, play with and put into flux the liminal space that exists between the present and some upcoming and inevitable, yet undefined, future musical direction that situates this young guitar and compositional talent both in this moment, and beyond.

The incredible John Lee's sophomore recording for Cellar Music is a hard swinging, and intricate jazz album. It features multi-instrumentalist, composer and arranger Lee on piano alongside his favorite rhythm section of all time: Kenny Washington on drums and Peter Washington on bass. The album features 3 newly penned original Lee compositions.

In the summer of 2021, I put together the quartet on this recording for a gig at Frankie's Jazz Club in Vancouver, BC. It was one of those nights where everything came together in every aspect. Club was packed with an appreciative and enthusiastic audience, the band was fired up and ready to go and most importantly my dear friend and supporter of jazz Yvonne DeTroye was at her usual perch taking in the festivities. When we were packing up, she approached me as she usually does to tell me how wonderful the band sounded AND that should we ever decide to record she would be more than happy to lend financial support. My first thought was "the world does not need another Cory Weeds record," but as things usually go when someone plants a seed I start thinking, plotting and strategizing. Around this time, I had just taken the Presidents role at The Fraser MacPherson Jazz Fund and I started thinking about how we could use this recording as a fundraiser. After 18 months of a pandemic the fund was basically depleted and needed to increase it's fundraising efforts and create some awareness. Bingo! I had my solution!Yvonne donated to the FMJF to produce this CD and 100% of the proceeds from the sales (in all formats) benefit The Fraser MacPherson Jazz Fund.

NEA Jazz Master Dave Liebman's latest is a thrilling free jazz outing featuring the boundless soprano saxophonist in the company of four modern musical masters: Peter Evans, Leo Genovese, John H�bert and Tyshawn Sorey. Part of the SmallsLIVE Living Masters series, this live set from Smalls Jazz Club showcases the daring virtuosity of one of the most forward-thinking minds in contemporary music. From his official website: http://davidliebman. Com/home/ David Liebman is considered a renaissance man in contemporary music with a career stretching over fifty years. He has played with masters including Miles Davis, Elvin Jones, Chick Corea, John McLaughlin, McCoy Tyner and others; authored books and instructional DVDs which are acknowledged as classics in the jazz field; recorded as a leader in styles ranging from classical to rock to free jazz. He has performed on over 500 recordings with 200+ as a leader/co-leader featuring several hundred original compositions. International recognitions and awards include : HONORARY DOCTORATE FOR JAZZ- SIBELIUS ACADEMY, HELSINKI, FINLAND ('97) ORDER OF ARTS AND LETTERS - PARIS, FRANCE ('09) NATIONAL ENDOWMENT OF THE ARTS (NEA) JAZZ MASTER-HIGHEST HONOR IN JAZZ FROM U. S. GOVERNMENT ('11) Liebman is currently teaching at New York University and guest lecturing at Berklee College of Music.

A versatile pianist who has been a valuable asset on many sessions through the years, Bernie Senensky has long been one of Canada's finest jazz musicians. Don't Look Back finds him in the company of frequent collaborators in bassist Neil Swainson and drummer Barry Elmes along with New York heavyweights trumpeter Sam Noto and saxophonist Bob Mover.

A veteran of the Boss Brass Orchestra and an Order of Canada recipient for music, PJ Perry is Canada's reigning king of the alto saxophone. With a seemingly endless supply of ideas, "Ease It" is Perry in full flight. A blistering live set, Perry is matched by a trio that includes Steve Wallace on bass, pianist Jon Mayer, and Quincy Davis on drums. Live bebop at it's swinging, fiery best!

One of the finer young tenor players on the New York scene in the last decade, Sam Taylor squares off against Philadelphia's acclaimed tenor man, Larry McKenna on "Along The Way." Taylor and the elder McKenna don't musically spar so much as put their equally rich saxophone sounds to good use in a spirited, cooperative effort in a warm program of standards that suits their unfettered bebop style.