On his third leader release for Criss Cross, guitarist Lage Lund returns to the quartet format that he navigated on the brilliant 2010 release Unlikely Stories (CRC 1321), recruiting young piano giant Aaron Parks to join world-class bass-drum partners Ben Street and Bill Stewart. It's another triumph for the 2005 Thelonious Monk Guitar Competition winner, who puts his lovely tone to work on a program of six originals and three off-the beaten track covers marked by informed harmonic dialogue, keen attention to melody, and an endless will to swing.

Jazzland is Tim Warfield's ninth Criss Cross album, and his third encounter on the label - following 2007's One For Shirley and 2010's Sentimental Journey - on which he frames his singular tenor and soprano saxophone sound with the magisterially funky and swinging rhythm section of Hammond B3 master Pat Bianchi, Philadelphian drum titan Byron "Boogie" Landham, augmented as on Sentimental Journey by Bronx-born percussion wizard Daniel Sadownick. Trumpet titan Terell Stafford, a frequent Warfield partner, shares the front line.

Terrible Animals is perhaps the most compositionally ambitious and daringly performed of Lage Lund's five albums on Criss Cross Joined by a never-before-convened, top-of-the-pyramid rhythm section (Sullivan Fortner, piano; Larry Grenadier, bass; Tyshawn Sorey, drums) the now 45 - year old presented ten far-flung originals that elicit the full measure of their creativity over the 68-minute program, spurring Lund - who makes ingenious use of effects within his flow - to some of his most dynamic and varied playing on record. The Album was recorded April 27, 2018 at the Systems Two Studio in NY. Recording engineer Mike Marciano also did the editing, mixing and mastering at Systems Two in NY. He also did the vinyl remastering. Cover drawing by Robbin Veldman.

Some might think that guitarist Oz Noy, a celebrated voice in jazz-fusion over the last quarter century for applying his formidable guitar chops to funky rhythms and blues-based changes on 13 leader albums and hundreds of plugged-in concert performances, is not an obvious fit for Criss Cross, whose 420+-album catalog connects almost exclusively to the various tributaries of the hardcore acoustic jazz river. Noy, 52, begs to differ. "I've known about Criss Cross since my brother brought home albums when I was a teenager, " he says, discussing the back story of his label debut, Fun One, a creative, sophisticated and, shall we say, swinging trio encounter with pianist David Kikoski, bassist James Genus and drummer Clarence Penn. "I know Peter Bernstein's albums and Adam Rogers' albums. I love Mike Moreno's last album. I know how the albums sound. I started to study jazz chords and harmony when I was 13. I started making a living playing pop and rock music when I was 15 or 16, and for all my years in New York I've had an electric trio that plays groove music mixed with jazz and funk that's enabled me to get a record deal and make albums. But I've been playing standards and jazz all my life, and probably since 2017 with this quartet. I've just never recorded it." From 2017 until March 2020, when COVID shut down New York City, the group's encounters transpired on Thursday nights at the 55 Bar, the Greenwich Village basement where high-level practitioners like alto saxophonist-composer (and frequent Criss Cross artist) Dave Binney and guitarists Mike Stern and Wayne Krantz held years-long weekly sinecures. After the Christopher Street landmark shut down two years later, Noy "moved our operation" to the Bitter End on Bleecker Street, a signpost venue in the development of comedy and various streams of second-half-of-the-20th-century popular music where Noy has played regularly with his power trios for more than two decades. From the beginning of 2024 until the end of July, when Noy recorded Fun One, he frequently workshopped this repertoire there "with some form of this band." The Album was recorded July 26 / 27, 2024 at the Samurai Hotel Recording Studio, NYC. Recording engineer Mike Marciano. Sound engineer Mike Marciano also did the mixing and mastering at Systems Two in NYC. Photography by Anna Yatskevich.

I sat very near to or next to the greats at the Village Vanguard on many occasions, says the eminent drummer-composer-bandleader Bill Stewart, by way of contextualizing his - and the Criss Cross label's - first-ever live-at-the-Vanguard recording. During his early years in New York, before he ever played the hallowed basement, Stewart, now 58, frequently arrived early to claim the behind-the-drumkit position on the red banquette that runs along the Vanguard's west wall all the way to bandstand stage right to get a bird's eye view of Elvin Jones, Tony Williams, Roy Haynes, Billy Higgins, and a host of other masters whose recordings he'd played along with as an adolescent and teenage aspirant in Des Moines, Iowa. "When you sit close, you get the body language, the whole vibe of the drummer who you want to check out, " Stewart says. "That's the place." It's a sure bet that more than a few drum aspirants took pains to assess Stewart's vibe from that privileged perch between September 18 and September 23 in 2023, when he convened bassist Larry Grenadier and tenor saxophonist Walter Smith III for their third weeklong trio engagement at the Vanguard, following residencies in April 2017 and in October 2018. The latter engagement transpired around the trio's first album, Band Menu, a studio date that marked Stewart's first leader endeavor without a chordal instrument. "My first six recordings before the last one had piano, including two with Larry Goldings and Kevin Hays on keyboards, " saysStewart, who has made numerous organ trio albums with Goldings and guitarist Peter Bernstein, either led by Goldings or Bernstein or under the collective billing Goldings-Bernstein-Stewart. "I wanted to work with the open sound of the tenor trio. Not having a piano or guitar gives me the option to fill up more space with the drums or allow more space in the music. I was also thinking of the famous tenor-bass-drums recordings by Sonny Rollins and Joe Henderson at the Vanguard. So I felt it was time to document the trio playing in the room." The Album was recorded September 22 / 23, 2023 Live at the Village Vanguard, NYC. Recording engineer: James Farber. Mixing by Tyler McDiarmid. Mastering by Nate Wood. Produced by Bill Stewart. Photography by William Brown. Line up: Bill Stewart (drums) - Walter Smith III (tenor saxophone) - Larry Grenadier (bass)

For his fourth Criss Cross Jazz release as a leader, young trumpet sensation Ryan Kisor reunites with the rhythm section from his "Point of Arrival CD" - Peter Zak on piano, bassist John Webber, and Willie Jones III on drums - for a program of six original compositions, the standard ballad "I Should Care," and the Dizzy Gillespie classic "Fiesta Mojo." on the latter track Ryan's quartet is augmented with the terrific tenor of Eric Alexander and percussionist Renato Thom's.

As he has done on his three previous Criss Cross dates, Russian trumpeter Alex Sipiagin brings together a cohort of New York's finest - here reedmen Chris Potter and David Binney, keyboardist David Kikoski, bassist Scott Colley, and drummer Gene Jackson - to perform on "Equilibrium." Comprising seven stimulating Sipiagin originals, a Monk tune and a bossa, the album features not only the ensemble interplay and virtuosic soloing we've come to expect from Sipiagin's albums, but also several tunes on which the trumpeter brings his rich imagination and ravishing tone to the forefront.

Sacred music has long been a source of inspiration and creativity for the jazz musician. "Forever," Jimmy Greene's second release as a leader for Criss Cross, finds the tenor saxophonist continuing this rich tradition. Backed by the hard swinging rhythm section of Xavier Davis on piano, John Benitez on bass and Jeff 'Tain" Watts on drums, Greene combines modern arrangements of traditional spirituals with originals inspired by sacred themes. Greene's talents as an arranger and bandleader are in full view, as he gives classic spirituals a fresh, contemporary treatment.

For his fifth Criss Cross recording, Alex Sipiagin assembles a top-shelf quintet of generational peers, all colleagues who rank at the top of the pack on their respective instruments, to play a program of original music. The mood is melodic, polyphonic, rhythmically intense, more simmering than fiery, defined by Sipiagin's burnished, golden sound, the individualistic voice-like statements of tourist Seamus Blake and guitarist Adam Rogers, and the intuitive accompaniment of bassist Scott Colley and drummer Antonio Sanchez.

Joined by New York A-list Larry Grenadier and Bill Stewart, young guitar virtuoso Jonathan Kreisberg offers an impressive leader debut. Equally comfortable with bebop (Charlie Parker's "Relaxing at Camarillo"), the American song book ("Summertime," "My Ideal" and "Just in Time"), Jazz Modernism (Wayne Shorter's "JuJu") and Pop ("Michelle"), Kreisberg's instrumental voice is zestful, reflective and warm - every solo states a considered point of view.

Tough young tenor Tim Warfield, permanent member of trumpet star Nicholas Payton's quintet, has his boss here in a sideman role with vibes-wizard Stefon Harris, pianist Cyrus Chestnut, bassist Tarus Mateen, and drummer Clarence Penn. This is an exciting, hard swinging album with mostly Warfield originals.

After presenting a program of gnarly originals for quartet on "Ultimatum" (CRC #1222), his Criss Cross debut, pianist George Colligan offers a beautifully paced trio recital. Mixing well-wrought originals with iconic standards like "Sophistcated Lady" and "Body and Soul" and such less-traveled repertoire as "Holiday for Strings" and "Three Views of a Secret," Colligan again displays the musicality and personal perspective that have marked his oeuvre over the past decade. In the rhythm section: bassist Vicente Archer and drummer Bill Stewart.

Pollwinning trombonist Conrad Herwig and acclaimed trumpeter Brian Lynch join together for a burning program of Latin Jazz treatments of compositions by the great John Coltrane. Herwig and Lynch use the unique rapport they've achieved through their many years of association with the Latin master Eddie Palmieri to pilot their working group of Latin Jazz all-stars with fire, finesse, and flair. Their illustrious band mates are baritone saxist/flautist Mario Rivera, pianist Edsel Gomez, bassist John Benitez, drummer Robby Ameen, and percussionist Richie Flores. With all new arrangements by Herwig and Lynch, this CD is a most worthy follow-up to Herwig's Grammy nominated "The Latin Side of John Coltrane."

Speaking eloquently to the benefits of keeping a working band together, One for All continues to add some distinctive flair to the mainstream tradition while building a singular book of originals and uniquely arranged standards. "Blueslike," their fifth effort for Criss Cross, finds John Coltrane firmly in mind with an uptempo romp through Giant Steps, and a bossa-inflected Naima. Rounding out this program of jazz standards are a few band originals and an updated arrangement of the Bacharach trinket in Between the Heartaches. In the band: Eric Alexander on tenor sax, Jim Rotondi on trumpet, Steve Davis on trombone, with pianist David Hazeltine, bassist Peter Washington, and drummer Joe Farnsworth.

Perhaps no contemporary pianist blends Latin and Jazz vocabulary with the deftness and fluency of Ed Simon, who demonstrates the point on his second Criss Cross outing. Bassist Avishai Cohen and drummer Adam Cruz, both equally versed in the art of telling stories in swing and clave, join Simon on a program of six originals and a standard "You're My Everything." Guitarist Adam Rogers, himself a Criss Cross artist, and vocalist Luciana Souza augment the trio on the tune "Unknown Path."

For his fourth disc for Criss Cross, drummer/leader Ralph Peterson has reconstituted the Fo'tet, his critically acclaimed forward-looking quartet featuring vibraphonist Bryan Carrott. Founding member clarinetist Don Byron returns after a nearly 15 years hiatus to revisit the group's truly unique, original sound. Percussionist Eguie Castillo augments the band to help it fuse Latin rhythms into the mix, including a Puerto Rican plena arrangement of Joe Henderson's "Shade of Jade" and a Brazilian samba flavored reworking of the leader's "Keep it Simple." Features bassist Belden Bullock.

WIDE HORIZONS

25-year-old trumpeter Jeremy Pelt has garnered notice for his superb charts and professionalism since landing in New York four years ago. "Insight," his Criss Cross debut, demonstrates that he's also a composer with a point of view. Helping him articulate it are a take-no-prisoners ensemble of New York's finest callers, all 30-and-under, with the exception of veteran drum avatar Ralph Peterson. Features tenor saxophonist Jimmy Greene, alto saxophonist Myron Walden, pianist Rick German son and bassist Vincente Archer.

For his ninth Criss Cross session as a leader, trumpet sensation John Swana makes the scene again with several of his peers from the city of Brotherly Love for a follow-up to 2001's "Philly Gumbo" (CRC #1203). Featuring the twin tenors of Bootsie Barnes and Larry McKenna, this CD offers a bristling set of hardbop delights, the kind of fare you might hear in Philly when dropping in at Ortlieb's Jazzzhaus to catch Swana for a set or two. The rhythm section has Sid Simmons on piano, Mike Boone on bass, and drummer Byron Landham.

Every note of Yahel's debut album is marked by a quality of analytical reflection - he's been working Wednesday nights for 3 years at Smalls in Greenwich Village w. young masters Peter Bernstein & Brian Blade, who back him up here.

Within the small circle of modern jazz trombonists, few would argue that Steve Davis stands apart from the crowd, not only as a singular instumental voice but also as a gifted composer. With Systems Blue, his fifth Criss Cross album to date, Davis explores a distinguished set of jazz standards while being accompanied by his rhythm section partners from One for All - pianist David Hazeltine, bassist Peter Washington, and drummer Joe Farnsworth. Alto saxophonist Mike DiRubbo joins the group on two titles.

Walt Weiskopf's eighth recording for Criss Cross is a ten-part suite for jazz sextet. A celebration of the relationship between various art forms, the suite was inspired by the graphic art of modern masters ranging from Dali, to Picasso, to van Gogh. Weiskopf utilizes elements of jazz and classical music, skillfully integrating improvisation and written themes. The CD is brought to life by Weiskopf and his longtime associates: alto saxophonist Andy Fusco, trombonist John Mosca, pianist Joel Weiskopf, bassist Doug Weiss and drummer Billy Drummond.

Rare is the debut album that presents a vision so mature and cosmopolitan as that expressed by guitarist Adam Rogers on this CD. Nor is it a commonplace for any musician to realize their concept with the authority and elegance Rogers imparts to the entire program. The A-list rhythm section, pianist Ed Simon, bassist Scott Colley, and drummer Clarence Penn, are fully in synch throughout a varied program.

Tenor saxophonist's quartet w. James Williams on piano, Christian McBride on bass and Elvin Jones on drums, recorded December 16, 1991.

Tenor saxophonist Walt Weiskopf - following a series of Criss Cross recordings featuring his original music for larger ensembles - places here the primary focus on his instrumental voice. Joined by star pianist Brad Mehldau, mega-bassist John Patitucci, and rising star drummer Clarence Penn, Weiskopf plays with characteristic surge, trampolining through the notes as though liberated from gravitational encumbrance. At all times he achieves the improviser's grail of telling a singular story.