Limited 180gm vinyl LP pressing housed in gatefold packaging. Guitarist Grant Green explored Latin and Brazilian influences on his highly enjoyable 1962 album, The Latin Bit, featuring Johnny Acea on piano, Wendell Marshall on bass, Willie Bobo on drums, Carlos "Patato" Valdes on conga, and Garvin Masseaux on chekere. Blue Note Tone Poet Series features all-analog, remastered sound.

Wes Montgomery -"One Night In Indy" INgrooves; Resonance Records; Jazz; Catalog, Artist Hometown: Indianapolis, IN � This CD unites Wes Montgomery with legendary jazz pianist Eddie Higgins and his trio in a live 1959 Indianapolis club performance. � These recordings formerly belonged to the late great Indiana photo journalist, Duncan Schiedt, who passed away in 2014. � Schiedt had made these recordings at the Indianapolis jazz society he co-ran. � CD includes 40 minutes of music.

Classical Music

The past few decades have seen legendary pianist and composer Denny Zeitlin focus on a few vehicles for his adventurous journeys in music making. Playing solo, with his trio, or in the acoustic-electronic duo with George Marsh have provided ample avenues for exploration, which Zeitlin hopes to provide a wide scope of on his new, varied collection, Panoply.

For nearly 15 years, Zeitlin has released new recordings yearly on Sunnyside Records. These documents highlight the different methods he has centered upon as a leader. Zeitlin's trio that features bassist Buster Williams and drummer Matt Wilson is a seasoned and adventurous ensemble that continues to generate fire in performance. Zeitlin's nearly six-decade long collaboration with drummer/percussionist George Marsh continues to yield extraordinary results, especially as they have continually broadened their color and textural palettes with electronic sounds. Finally, Zeitlin continues to perform solo piano recitals, maintaining his status as one of the foremost solo improvisers and musical interpreters.

For Panoply, Zeitlin has collected unreleased performances from the past decade that highlight his and his musical partners' fantastic command in improvisation regardless of genre or medium. Zeitlin carefully curated this program to provide a sequence that blends acoustic and electronic music which transitions well and let's the music unfold.

The solo piano pieces come from a recording made on December 1, 2012 at the Piedmont Piano Company in Oakland, while the trio recordings were captured live at Mezzrow Jazz Club in New York City from May 3 to 4, 2019. The duo pieces with Marsh were collected over a decade of home recordings at Zeitlin's Double Helix Studio from 2013 to 2023.

A Note From Denny Zeitlin // George Marsh and I began our Sunnyside duo electro-acoustic recordings with "Riding The Moment" in 2015. "Expedition" followed in 2017, chronicling an exciting and enriching evolution. And now "Telepathy," consisting primarily of pieces recorded since then, finds us exploring broader and deeper dimensions of spontaneous composition as our attunement and musical vision continue to expand. // For listeners having a first contact with our duo, I'll repeat my remarks from our previous albums, since the set and setting remain the same. // This album, like "Riding the Moment," and "Expedition," has roots going back to the late sixties, when I began a decade of exploring the electro-acoustic integration of jazz, classical, funk, rock, and free-form music. My trio included Mel Graves or Ratzo Harris on bass, and throughout, the incredible drummer/percussionist George Marsh. We recorded and toured the West Coast, concluding this period with my electro-acoustic-symphonic score for the 1978 remake of "Invasion Of The Body Snatchers." // I then returned to a focus on acoustic solo, duo, and trio music for a couple decades, and George went on to numerous other projects. With the passage of the millennium, synthesizer and recording technological advances lured me back into a major and ongoing studio upgrade. "Both/And" (Sunnyside 2013) was devoted to the electro-acoustic domain as a soloist. And since 2013, George and I have musically re-united, and have been exploring the potential of duo electro-acoustic free improvisations-the co-creation of what we often refer to as "sound paintings." // Our goal has been to approach the music without a score or any preconception; to be as fully present as possible, "riding the moment," and allowing the music to go where it wants-without any constraint of genre, or fixed harmonic, rhythmic, or melodic structure. We hope our "telepathy" allows the emergence of spontaneous compositions that have freshness, beauty, excitement, internal logic, new sounds, and a sense of journey-an "expedition." Over 95% of this music was recorded in "real time" with one pass. On those occasions where I didn't have enough hands to play what I was hearing, I over-dubbed some orchestration or a solo voice. And in those instances, I typically went with the first take, to preserve the spontaneity of the project. // I believe you will hear in our interaction that George is a full partner in the co-creation of this album. To preserve acoustic separation during recording we were unable to see each other; we were carried by our shared musical vision, trust, and an extraordinary rapport. We often feel like we are some kind of galactic orchestra.

Over the years I've had the opportunity to perform in a wide range of venues-from jazz festival stages for thousands of outdoor fans to jazz clubs with fewer than a hundred listeners. And while there is a special excitement in sharing music with a huge crowd, I find myself drawn more to the intimate settings, like Mezzrow. Spike Wilner and his staff have created a unique place for music in a long basement room in NYC's Greenwich Village. He keeps his Steinway Grand in perfect shape; the acoustics are miraculously superb; and people are really listening. During this trio gig with Buster Williams and Matt Wilson, it felt like we were all in it together-players and listeners deeply involved in the emerging music. // This CD marks our 18th year as a trio, and though we don't perform that often, due to the complexities of schedules and the demands of my psychiatric practice and teaching, the music has continued to evolve. Our two nights at Mezzrow were inspiring, and I hope you will enjoy this CD, our 5th album together.-Denny Zeitlin

2018 release by the jazz pianist. "By 2009, Buster Williams, Matt Wilson, and I had been performing as a trio for eight years, and this recording of a night at Dizzy's Club Coca Cola captures some of our best music-full of surprise, exploration, confidence, excitement, nuance, and empathy. The program has some of my favorite originals and standards. I had recorded all of them previously; they have always provided a special springboard into improvisation." - Denny Zeitlin.

2017 release from the jazz pianist. Note from Denny Zeitlin: "In the two years since Sunnyside's 2015 release of Riding The Moment, George and I have continued our expedition into new territories of free improvisation, and have found the journey to be very enriching and exciting. For listeners having a first contact with our duo, I'll repeat my remarks from our first album, since the set and setting remain the same. This album, like Riding the Moment, has roots going back to the late sixties, when I began a decade of exploring the electro-acoustic integration of jazz, classical, funk, rock, and free-form music. My trio included Mel Graves or Ratso Harris on bass, and throughout, the incredible drummer/percussionist George Marsh. We recorded and toured the West Coast, concluding this period with my electro-acoustic-symphonic score for the 1978 remake of Invasion Of The Body Snatchers."

EARLY WAYNE - EXPLORATIONS OF EARLY CLASSIC WAYNE

RIDING THE MOMENT

MUKASHI-ONCE UPON A TIME

Denny Zeitlin has recorded over thirty critically acclaimed albums; twice won first place in the Down Beat International Jazz Critics Poll; written original music for Sesame Street; and appeared on network TV, including repeats on the Tonight Show, and CBS Sunday Morning. Zeitlin's lecture-demonstration "Unlocking the Creative Impulse: The Psychology of Improvisation" has been presented across the U.S. and in Europe. He has concertized throughout the U.S., Canada, Japan, and Europe, at colleges, jazz clubs, and major festivals; appearing with jazz greats such as Joe Henderson, Herbie Hancock, Pat Metheny, Tony Williams, Bobby Hutcherson, John Patitucci, John Abercrombie, Marian McPartland, Charlie Haden, David Grisman, Kronos Quartet, Paul Winter, David Friesen, Matt Wilson, Buster Williams and many others.

WHEREVER YOU ARE

BOMBELLA

JERRY GONZALEZ Y EL COMANDO DE LA CLAVE

IN CONCERT

YA YO ME CURE

MOLIENDO CAFE

RUMBA PARA MONK

This is the third and the last volume of the famed live recordings from Zurich Jazz Festival with an additional track with trumpeter Joe Newman as a guest player. “....this is another superb performance from Dexter Gordon who also takes the vocal on Jelly Jelly a 12 bar blues theme created by Billy Eckstine...if you enjoy fine Jazz Tenor playing or especially if you play Tenor Sax you must have this record.” (Jazz Journal) 180g Audiophile Vinyl

It seems safe to say that Shirley Horn has now gained the popularity and recognition she deserves and that she joined the ranks of the star singers. And if you’ll excuse our boasting tone, SteepleChase takes a lot of pride in being the first record company to re-discover this great singer from the local scene of Washington D.C. to make her come-back to the major market possible. As Nat Hentoff wrote in Modern Recording & Music in 1981, “..Miles Davis is not a notable enthusiast of singers, but one exception was Shirley Horn, a Washington-based improviser (on piano as well)...”, Shirley Horn was a musicians’ musician little known to the wider public until her break-through in the late 80s. Her appearance at the famous Dutch festival at the Northsea where this recording was made was the first live encounter with the European jazz crowd whom Shirley conquered with no sweat. 180g Audiophile Vinyl

“...a serious meditation in the Parker universe: Shepp accompanied only by the extraordinary bass of intuitive Niels-Henning Ørsted Pedersen... The two musicians here in this Parker revisited, however, do not get lost in the immense shadow of the idol...” (Télérama) 180g Audiophile Vinyl

When this recording came out as LP on the market in 1979 after Baker’s lengthy pause from the scene, Jazz Time’s reviewer started his article by saying “Whoof! The killer is back....” And indeed this cool killer was back on the scene to stay, though for a while until his tragic death in Holland, and made a number of wonderful recordings for SteepleChase. The first of the four releases with the same “drumless” group is a studio recording (three others are live from Montmartre) and “this subtle woodhued record shows that Baker at his best can still knock you dead...” (Jazz Time). 180g Audiophile Vinyl

Catalan pianist Vincente Tete Montoliu (b. March 28, 1933 in Barcelona) “swings like no other pianist in Europe”, once remarked Ben Webster. Jazz Journal confirmed Ben’s opinion in reviewing this album, “...he could blow most contemporary pianists into the ground technically...”. And Radio Free Jazz of USA (the predecessor of JazzTimes) concluded, “...This is the best piano record in many years and one that will certainly rank with the best of any era.” 180g Audiophile Vinyl

The first volume of the much acclaimed “Swiss Nights” series celebrated the first 50th release of SteepleChase label which after two years in business had firmly established itself to be one of the major independent jazz labels. “The Zürich Jazz Festival last year (1975) evidently found Dexter Gordon in a relaxed and mellow mood. He has made many good records ...but this set is one of the best...” (Jazz Journal) 180g Audiophile Vinyl

Ruby My Dear

Alto saxophonist Lee Konitz is one of the very few who have escaped the dominating influence of Charlie Parker and created his own style and became the central figure in the “cool” jazz. While it was a very courageous, lonely and hard work to do, recording unaccompanied solo alto performance of almost one hour suited Konitz’ particular style of even and smooth blowing using the full range of the instrument. The result was “a very unique Lee Konitz’ world with limitless imagination which enchants the listeners .... not a single second boring” (Swing Journal). “The Konitz sound, richer and much more expressive than in his earlyer years, also goes through intriguing changes during the course of these performances...”(The Boston Phoenix)

Arrival

Solo Piano

The Great Session