Mark Soskin who turns 70 this summer has been one of the top exponents of world jazz scene for the last 5 decades. Though his 14-year tenure with Sonny Rollins back in the 90s comes to our mind, Soskin has always been active with his own group and as a dedicated educator. This is his first duo recording with his long-time collaborator Jay Anderson (bass) for SteepleChase which he joined in 2018. “Soskin remains a treasure awaiting discovery by many jazz fans.” (Ken Dryden, NYCJR)

Max Light the runner-up in the 2019 Herbie Hancock Institute of Jazz International Guitar Competition judged by, among others, Pat Metheny and John Scofield is fast establishing himself in the New York jazz scene. This is his first leader album on SteepleChase. While he was studying at New England Conservatory in Boston he was a regular member of the Jason Palmer group. Light’s crucial contribution to that group is documented in the two volumes of Palmer’s At Wally’s (SCCD 31855 & 31856) from 2018. During his days in Boston he also became a close collaborator of saxophonist Noah Preminger with whom he co-led “Songs We Love” (SCCD 31928). “The surprise is new young guitarist Max Light. Palmer gives him generous space, including some first solos. Light holds his own in fast company. Remember his name.” (Thomas Conrad – NYCJR on At Wally’s)

Joe Locke recorded this album in 1991, when his name as a new vibraphonist was gaining serious momentum on the NY scene. Following his highly acclaimed debut album “Present Tense” (SCCD 31257) and the ensuing “Longing” (SCCD 31281) from SteepleChase this third album showcases Locke’s lyricism in a ballad collection accompanied by the master Kenny Barron. “if your mood of the moment is to surround yourself with something soft and lovely, Locke and Barron will make things beautiful.” (Cadence) 180g Audiophile Vinyl

MEETING

Johnny Mbizo Dyani (bassist/composer) was born in East London, South Africa November 30, 1945 to grow up to be one of the most internationally acknowledged musicians. Since his arrival in England in 1965 as a member of South African jazz group called The Blue Notes Dyani had chosen Scandinavia as his home base and had built an active career until a rare disease shortened his life all too soon. He died in Berlin, Germany in 1986. This album recorded in the summer of 1978 with the powerful front line-up of Don Cherry and Dudu Pukwana. The album was dedicated to the martyred South African activist against apartheid Steve Biko (1946-1977) with whom Dyani shared a cultural and linguistic heritage of Xhosa. “Dyani wrote all of the material for this record and it proves to be a vital factor in the success of the date. Both Cherry and Pukwana react favourably, while bringing their own personalities strongly to bear... this fine record can be recommended without reservation.” (Barry McRae, Jazz Journal International July 1979) “...there are possibly a handful of albums every year which are worth living with. This is one of them.” (Brian Case, Melody Maker June 1979) 180g Audiophile Vinyl

This album is all about Tadd Dameron (1917 - 1965), one of the most important American jazz composer/musicians. Multiple award-winner Gary Smulyan conceived the brilliant idea of recording Dameron compositions with lyrics. The vocal part is phenomenally rendered by the young talent Anaïs Reno. Three songs including the lovely This Night Of Stars have never been recorded before. “an exhibition of the finest baritone sax playing.” (M McKergow – LondonJazzNews on Alternative Contrafacts SCCD 31844)

Still active at 81 venerable bassist McClure calls this quartet “another Dream Team”. The highly acclaimed original Dream Team also featuring Rich Perry was released in 1997. The group made the first outing in NYC after the two-year Covid induced hiatus. The CD recaptures the magic of their live performance the night before. “McClure presents Lucky Sunday, pleasingly intelligent, subtly swinging, polished and intimate, designed for anytime-listening” (Howard Mandel – Downbeat on SCCD 31877 ****)

Award-winning tenor saxophonist Noah Preminger and his solid duo cohort, guitarist Max Light showcasing here how the younger generation of jazz instrumentalists exercise their creative muscles to turn the 80s pop music into the New Standard repertoire. Preminger at 35 and Light at 29 grew up emotionally and musically with the songs they adapted here. Some of the critics have already noticed Preminger’s sense for finding rock/pop materials that can be made into jazz in his previous release (also with Light) where “The Red Hot ChiliPeppers’ “Porcelain”... is transformed by an imaginative, spacious arrangement, with the rhythm section interacting rather than accompanying…” (Ken Dryden – New York City Jazz Records on SCCD 31906 Contemptment) “Instrument combination of guitar and tenor sax creates an air-tight and urgent soundscape…with the music on a high level it is warmly recommended.” (Ole Mathiesen – Jazz Special on SCCD 31906)

Another culmination of Harold Danko’s half a century-long fascination and study of Igor Stravinsky’s groundbreaking ballet music The Rite of Spring (world-premiered in 1913 in Paris causing a riot among the audience). Danko’s previous release SCCD 31909 Spring Garden, his first attempt of exploring and adapting Stravinsky’s material with Danko’s original quartet of the 90’s drew a slew of applaud from critics and public alike. This new album shares with us his interpretation in a solo setting. “Each excerpt on Spring Garden is expanded into often unexpected directions, building upon the late maestro’s genius, with Danko taking rhythmic and melodic liberties, transforming this century-old music into compelling jazz.” (Ken Dryden – New York City Jazz Records on SCCD 31909)

NYC is one of the most vibrant cities in the world. Osaka will arguably make the second place in that category. Magnarelli in the past made a couple “junction” albums but this ultimate junction connecting the NY trumpeter with dynamic Osaka-born B-3 player Tsuruga with the ace baritone player Smulyan sharing front line will make probably the very first trumpet-baritone-organ band. “Joe is known for his engaging, melodically-rich lines, and his powerhouse rhythm.” (Zan Stewart)

Rich Perry’s career encompasses almost four decades at the center of NY jazz scene as the leader of his group and as the lead tenor player of renowned big bands like The Maria Schneider Orchestra and the Vanguard Jazz Orchestra. Here on his new album Perry, like his two previous albums, focuses on performing his original materials. “Rich Perry unveils yet another melodious, mellifluous recording that defies convention. …a beauty, a humbling jolt of musical perfection.” (K. Micallef – Jazztimes on Happy Destiny SCCD 31913)

Ferrara assembles again his dream rhythm section of Versace/Anderson/Drummond to further unveil his maturing musical universe. He started to play saxophone at age 9. His unique talent was already obvious. Shortly after graduation from NYU’s Jazz Studies program he released his debut album Early Spring (SCCD31920) in 2021. “.. quite a musical present – filled with wonderful original tunes composed by the leader, all graced with these very personal lines and inflections on tenor sax! “(Dusty Groove)

Andrew Rathbun invited fellow tenor player Rich Perry to co-front this his 9th album on SteepleChase. Rathbun’s admiration for Perry prompted him to conceive and design this album not as tenor battle but as deeply engaging conversation between the top instrumentalists. Semantics showcases how the two unique musical minds interact. “This remarkable session reveals a musician who is clearly not going to be satisfied with the status quo.” (Ken Dryden – All Music on SCCD 31762 Shadow Forms)

“No matter what group Riley puts together for a record date, he merits top marks every time.” Ken Dryden (NYCJR) attested on Riley’s Hold‘em Joe SCCD 31850. Here Riley put together his first-ever organ trio with Brian Charlette, one of the hottest B-3 players today. The organ trio setting propels Riley’s unique sound to a new dimension. “Riley continues to surprise listeners with his creative settings of familiar jazz.” (Ken Dryden on SCCD 31892 Friday The 13th.)

Because Avishai Cohen’s previous outing—a 2017 album titled 1970 (Sony)—was his most commercially successful release thus far, one wouldn’t blame him for revisiting a similar artistic wellspring. Instead, for his 17th leader date, the bassist went in another direction, recruiting an entirely different set of musicians for the deeply personal, nostalgia-fueled Arvoles. Half the program here consists of trio recordings with pianist Elchin Shirinov and drummer Noam David, and on the other half, the band expands to a quintet with trombonist Björn Samuelsson and flutist Anders Hagberg. - DownBeat Magazine Editors' Pick

Click here to read the full review at DownBeat Magazine

‘At Home’ Includes the iconic track ‘Remembering’, probably Avishai Cohen’s soundtrack to date. Avishai Cohen is an Israeli jazz double bassist, composer, singer, and arranger. He began playing the piano at 9 years old but changed to the bass guitar at the age of 14, inspired by bassist Jaco Pastorius. In 2002, Cohen founded his record label, Razdaz Recordz. "I've always been interested in several genres of music, including jazz, rock, pop, Latin and funk," says Cohen. "I'm always packed with ideas. I decided to start my own label because I'm involved in so many different projects." Cohen's signature sound is a blend of Middle Eastern, eastern European, and African-American musical idioms.

‘Lyla’ is Avishai Cohen’s first release with Razdaz Recordz. Piano legend Chick Corea appears as a special guest performing a duet with the leader. Avishai Cohen is an Israeli jazz double bassist, composer, singer, and arranger. He began playing the piano at 9 years old but changed to the bass guitar at the age of 14, inspired by bassist Jaco Pastorius. In 2002, Cohen founded his record label, Razdaz Recordz. "I've always been interested in several genres of music, including jazz, rock, pop, Latin and funk," says Cohen. "I'm always packed with ideas. I decided to start my own label because I'm involved in so many different projects." Cohen's signature sound is a blend of Middle Eastern, eastern European, and African-American musical idioms.

Drummer Mark Guiliana is renowned for his work with Avishai Cohen for several years from 2002 to 2009. ‘Locked in a Basement’ is his debut album as band leader and producer. Hailed by The New York Times as “a drummer around whom a cult of admiration has formed,” Mark Guiliana brings the same adventurous spirit, eclectic palette and gift for spontaneous invention to a staggering range of styles. Equally virtuosic playing acoustic jazz, boundary-stretching electronic music, or next-level rock, he’s become a key collaborator with such original sonic thinkers as Brad Mehldau, Meshell Ndegeocello, Donny McCaslin, Matisyahu, and the late, great David Bowie.

Spring Garden celebrates the abundant musical seeds planted more than a century ago by Igor Stravinsky in the Rite of Spring. Danko’s liner notes reveal his long-standing fascination with Stravinsky’s masterpiece and details involved in the creation and recording of this ambitious project. “While he has arrived at his own sound, there's still a sense of adventurousness and discovery about Danko's approach to music …. Danko is fundamentally a deeply lyrical and swinging pianist, who combines the virtues of inside and outside playing, and he is still perfecting his music, learning new ways of approaching it. It's a process that started long time ago.” (Jakob Baekgaard - AAJ)

Cuber and Smulyan, two of the leading exponents of this weighty member of the saxophone family meet here for the first time showcasing their combined feat of baritone sax playing in modern jazz. Ronnie Cuber (b. 1941) has for more than the past half century been one of the most important soloists of this instrument. Gary Smulyan (b. 1956), the multiple award-winner of numerous jazz polls as the baritone saxophonist of the year has been particularly acclaimed for his witty contrafact compositions and performances. “A monstrous date and one of the best for all aboard. Certainly one of Cuber’s best.” (Cadence on SCCD 31860 Straight Street) “While Cuber’s approach here is resolutely modern, much of album serves thesame function as the organ-jazz idiom did 50 years ago: to rock a club withthe same kind of backbone as a much larger band.” (Aaron Cohen – DownBeat on SCCD 31882 Four”) “His passionate sound and fresh ideas make Alternative Contrafacts a set well worth picking up, particularly by straight-ahead jazz collectors.” (Scott Yanow – NYCJR on SCCD 31844)

Another SteepleChase debut album this month is by a New York-based young and upcoming tenor saxophonist Anthony Ferrara. Ferrara while still studying at NYU in Steinhard’s Jazz Studies Program participated in the veteran bassist and his teacher Ron McClure’s highly acclaimed 2019 recording session (SCCD 31877 Lucky Sunday). He was invited to record his own album for SteepleChase and the recording session was scheduled April 14, 2020. Then the pandemic hit NY and the world. The session materialized finally November 21. Ferrara used the pandemic downtime to prepare this outstanding first leader release. McClure noted on the album’s linernotes, “Anthony Ferrara’s music speaks for itself. Early Spring is a testimony to his deep respect for and knowledge of his predecessors on the tenor saxophone as well as the maturity and confidence this body of work defines at age 23.”.

New York’s foremost pianist/composer Mark Soskin (b. July 12, 1953 in Brooklyn, NY) spent over a decade with Sonny Rollins before returning to his native NYC base performing and recording both as leader and sideman. Soskin brings his quartet with Rich Perry (tenor sax) here on his fourth album for SteepleChase and focuses on his new compositions as well as some of his old gems. “The most important thing is the promise that perhaps Soskin will now join the Steeplechase roster and continue to record regularly as others have in the past. Well produced.” (Papatamus on SCCD 31858 Upper West Side Stories) “The music in the lyrical, acoustic wide range of jazz further emphasizes the brighter sound of this constellation … tasteful, clean and unblemished.” (Ole Mathiessen – JazzSpecial on SCCD 31890 Everything Is Old New Again)

Aaron Cohen of DownBeat observed, “Organist Brian Charette may never know how to stick to any kind of routine” while reviewing Charette’s second sextette album The Questions That Drive Us (SCCD31784). Maybe so but Charette certainly knows how to keep his unique sextette tradition going. One of the top organists of his generation Brian Charette approaches his instrument in most imaginative way. His now-celebrated Sextette is arguably the best example of his inventiveness. Here again on their third album the woodwind and brass section of 4 led by Charette demonstrates their power to move the air. “…the winsome logic of Charette’s constructions and the merits of his well-rehearsed band serve as persuasive catalysts for positive consensus.” (Derek Taylor – Dusted Magazine on SCCD 31784)

totally mesmerized by the American rock and roll culture and went on to play rock guitar growing up. He traced the music’s roots back to jazz later on and received formal education at the world-renowned jazz program at William Patterson University and graduated with a master’s degree. Segal for this his 6th SteepleChase recording chose trio format for the first time augmenting his personal drive in a very basic constellation. “Gene Segal's got a great tone ... Segal's really wrenching some great chromes out of his instrument – with an approach that seems to change slightly when the keyboard source changes, but never in a way that loses its intensity… " (Dusty Groove on SCCD 31883 Curiosity)

Trumpeter/composer Alex Norris has been a stalwart constituent of the New York jazz scene since 1992 after graduating from Peabody Conservatory of Music. Although this is his only third leader album and his debut release from SteepleChase, Norris is by no means a newcomer. It will be almost impossible to find any notable big band, smaller ensemble and soloist Norris has not performed, toured and recorded with. Here he chose his “go-to-quintet” of long-time cohorts/friends to present an album of straight-ahead, swinging jazz all penned by Norris. “…Norris writes and plays with rare assurance and seldom walks on overly familiar paths….He’s not an aggressive stylist and his penchant for thoughtful dynamics gives him the confidence to leave space and unexpected intervals in his solos.” (The Penguin Guide to Jazz on CD)