Ex Machina is a collaboration between saxophonist/composer Steve Lehman, whom the New York Times has called "a state-of-the-art musical thinker," and Orchestre National de Jazz (ONJ) that goes far beyond anything attempted before by a jazz big band. Featuring compositions by Lehman and Frederic Maurin, ONJ's artistic director, the work incorporates elements of French spectral harmony into it's compositional framework while also integrating live, interactive electronics developed at IRCAM in which abstract electronic sounds react to soloist improvisations in real-time. The new work is inspired by Lehman's Octet, whose groundbreaking work were the first to utilize spectral harmony's complex sonorities within a jazz context. Their critically-lauded releases Mise en Abime (Pi 2014) and Travail, Transformation and Flow (Pi 2009) were voted the #1 album of the year in the NPR Jazz Critics Poll and the #1 jazz album of the year in The New York Times, respectively.

Hailed by The New York Times as "a state-of-the-art musical thinker with a reputation for sure-footed futurism," and "one of the transforming figures of 21st-century jazz" by The Guardian, saxophonist/composer Steve Lehman has built a career creating innovative new music that packs the visceral wallop of live performance. Acclaimed for his groundbreaking work of melding spectral harmonies with modern jazz, he was voted the "#1 Rising Star Jazz Musician" in the 2015 Downbeat International Critics Poll and his prior album Mise en Abime the #1 Album of the Year in the NPR Jazz Critics Poll. Lehman continues his boundary-breaking work in a different vein with Selebeyone. The powerful new album draws from modern jazz, the rapping of Senegalese artist Gaston Bandimic, the underground hip-hop of HPrizm (aka High Priest of Antipop Consortium) and live electronics to create a dynamic form of urban experimentalism. Shifting rhythms, otherworldly electro-acoustic harmonies, contemporary sound design, and vocal gymnastics abound. And rather than simply co-existing and accommodating one another, the lyrical and the musical elements of Selebeyone are entirely integrated in exciting new ways. Add to that the unique juxtaposition of English and Wolof and one senses the unveiling of an entirely new musical realm.

Alto saxophonist Steve Lehman has arrived. The New York Times described his 2009 release Travail, Transformation and Flow as a breathtaking accomplishment and it's #1 Jazz/Pop CD of 2009. That album solidified Lehman's status as a young visionary composer with powerful new ideas about the future of jazz. On Dialect Fluorescent, Lehman defies his reputation as a future-fixated modernist and combines his own state-of-the-art compositions with a program of compositions by jazz legends like John Coltrane and Jackie McLean. But this album isn't just about paying homage every piece is treated as an opportunity to demonstrate a broad continuum of possibilities within the jazz tradition.

Art Pepper - "Intensity (Contemporary Records Acoustic Sounds Series)" / Recorded in 1960, Art Pepper's 5th album release on Contemporary Records, "Intensity", was released in 1963. A collection of 7 jazz standards the album features Dolo Coker (piano) along with Jimmy Bond (bass), and Frank Butler (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

Art Pepper's third album on the Contemporary Records label, "Gettin' Together" was released in 1960. Featuring a selection of both standards and originals the album also includes Conte Candoli (trumpet), Wynton Kelly (piano), Paul Chambers (bass), and Jimmy Cobb (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

Titles featuring Art Pepper, Sonny Rollins, Helen Humes, Ben Webster and many more! Mastered AAA by Bernie Grundman from the original analog tapes. 180-gram LPs pressed at Quality Record Pressings! - Saxophonist Art Pepper was considered one of the best altos of his time, just behind Charlie Parker. This 1960 recording, whose album's title presages the addiction that would soon offline the self-taught musician's career, features compositions written by fellow saxophonists (including Ornette Coleman's "Tears Inside" and Buddy Collette's "A Bit of Basie"). Finding Pepper at his finest, most limber form, his own composition "Las Cuevas de Mario" is a particular standout in 5/4 time and would pop up on his set lists in subsequent years. - This new edition is released as part of the Contemporary Records Acoustic Sounds series on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a Stoughton Printing tip-on jacket.

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)

The sequel to “Dr. Jackle” (SCCD 36005). Then 34 Jackie McLean was already a mature musician with personal style. “...a live recording in which McLean performs with clarity and beauty backed up by a fine rhythm section...” (Thomas Millroth, Orkester Journal)

“The uncompromisingly original” Jackie McLean was the driving force of the early 60s’ Hard Bop and “Free” jazz. Within a year of this live session Jackie cut himself off the recording scene until he reappeared in SteepleChase’s first release “Live At Montmartre” SCCD 31001. “...All modern collections should include a smattering of McLean..” (Jazz Journal) “Jackie McLean, a true, acrobatic talent of alto sax...” (Jazz Hot)

“Top-of-the-range standards jazz by a marvellously Esperantist quartet.” (The Penguin Guide to JAZZ) “Masterful!” (Diapason D’Or by Diapason Dec. 1988) “...If you like to confirm the fact that when the well-known melodies are performed by musicians of extraordinary talent, the music expands and develops infinitely, you will not be disappointed with this album...” (Koji Kubota, Swing Journal)