Except for occasional trips to the New York live scene and recording sessions, John Hart devotes his time in teaching younger generations as the head of the Jazz Guitar Department at the Frost School of Music, University of Miami. The inspiration for the unusual instrumentation of this album (baritone-sax, guitar, bass and drums) came from one of his classrooms where he tutors ensemble playing. He then, of course called his favorite baritone man Gary Smulyan to join the session. Checkmate, the third album by John Hart on SteepleChase was recorded a few weeks before the onset of Corona pandemic. Now after a dark long year of lockdown we hope we can call “checkmate” on that virus. “Hart’s beautifully shaded melodies and detailed and balanced intermezzi of concise and fast cadenzas signify his matured musicianship” (Francois van de Linde – Jazz Journal on SCCD 31885 Act Three)

Guitarist/composer Nate Radley has in a quiet but steady way become the New York scene’s staple player during the last couple decades. This long-awaited (since 2013) Nate Radley album on SteepleChase was conceived and produced in the fall of 2020 when NY was starting to reel back from the long pandemic down time. For his trio here Nate chose Jay Anderson (bass) and Adam Nussbaum (drums) who comprised the late Vic Juris’ guitar trio. Nate used to share the bandstand with Juris weekly at the famed 55 Bar in Greenwich Village in New York City. Radley graduated with a Master’s degree in music from New England Conservatory and is currently a member of jazz faculty of Princeton University. “…there are many moments where their (Radley and Chris Cheek) play melt together in the most beautiful way…. CARILLON is a both well performed and attractive album.” (Niels Overgaard – Jazz Special)

In the early summer of 1978 guitarist/composer/vocalist and Philadelphia native Monnette Sunder found herself in Copenhagen, Denmark with her band for her first European tour. June 6, two days prior to their live performance at the renowned Club Montmartre they were heading to Sweet Silence Studios for the recording of the same program. The live recording was released in 1979 as “Live In Europe” (SCCD 31102) of which Jørgen Siegumfeldt of Information commented, “... so far her best recording. Her musical and instrumental expression has gained much wider dimension ... the 22-minute long Libra Rising is the best memento of her latest appearance at Montmartre...” The studio recording, however has been for some reason forgotten by everybody involved for 40 years. The forgotten recording is recovered here, digitalized, mixed and re-mastered to be the consequential reminder of a young and developing artist at her onset. One of the great American jazz guitarists Monnette Sudler has performed with Hugh Masekela, Philly Joe Jones, Khan Jamal, Byard Lancaster, and Sunny Murray among others. She is the founder and artistic director of the Philadelphia Guitar Summit.

After releasing a tribute album to his late father, renowned multi reed player Gerry Niewood - SCCD 31871 Home With You, At Last – Adam Niewood, who is also New York’s leading multi-instrumentalist/composer went into studio this time to bring his focus on the tenor saxophone and own compositions in trio setting, jazz’s most fundamental format. “There is a lot to enjoy on this album, from the original compositions to their thoughtful execution, and not least the quartet’s phenomenal musicianship. (Elliot Marlow Stevens – Jazz Journal on SCCD 31871)

Vic Juris, American guitarist/composer, passed away Dec. 31, 2019 after a relatively short battle against cancer at age 66. Vic was an exclusive SteepleChase recording artist for many years, and this album (his 18th for SteepleChase) was recorded April 2019 and was scheduled for release this month. We at SteepleChase had obviously no idea that this was going to be Vic’s last leader album. We miss him deeply yet are proud to be a part of his remarkable career by being his label/producer of the 18 leader albums in the past three decades. “This is my third rave review in succession for guitarist Vic Juris’s SteepleChase releases in superlative displays of the art of jazz guitar.…This is another really delightful release from this stellar musician. “(Andy Hamilton – Jazz Journal on SCCD 31869 Two Guitars) “He’s been something of a musician’s musician throughout his career, sustaining a steady output of recordings and performances and supplementing with teaching gigs while hewing to reliably to a signature sound. Diagnosis or no, his intent is to continue that course and the contents of this disc illustrate him doing just that.” (Derek Taylor - Dusted Magazine on SCCD 31869 Two Guitars)

One of the frequently repeated ways to describe Riley is “What a special tone he has! Dark and dry with a lot of subtones. And very creative playing” (JJ – Sax on the web). It absolutely tells us how he sounds but another aspect of Riley’s uniqueness is in the way he treats his material (from the classic jazz standards and the Great American Songbook) in his – almost trademark – piano-less settings. Following the highly rated previous release SCCD 31882 Oleo by the two-horn quartet (sax and trumpet - Joe Magnarelli) Riley this time has invited the award-winning cornetist Kirk Knuffke to front the quartet. “… Riley and Magnarelli who, while tied to the bebop tradition, in this setting do not feel compelled to stick to it. Their fresh ideas and sly song quotes invigorate such tunes as “Doxy,” “St. Thomas,” “Ornithology,” and John Coltrane’s “Lazy Bird.” … Oleo is easily recommended .. ” (Scott Yanow – Los Angeles Jazz Scene on SCCD 31882) “Riley is a singular talent, not least for his twists on the standard repertory, and this is well up to scratch.” (Ronald Atkins – Jazz Journal on SCCD 31850 Hold ‘Em Joe)

The Printups (Marcus and Riza got married in 2011) have been recording together with ensembles on a couple releases (SCCD 31681 “Ballads – All Night” and SCCD 31711 “A Time For Love”). The new album here is their first duo endeavour and probably the first ever jazz recording of this combination of two instruments for the entire album. English journalist Mark Gardner once noted, “The beautiful sounds of trumpet and harp have a purity that sets them apart.” “Printup’s cohesive and resourceful trio with harpist Riza Hequibal and bassist Kengo Nakamura recasts and rekindles a string of romantic ballads with a lean mixture of lyricism and swing.” (Mike Joyce – JazzTimes on SCCD 31711 “A Time For Love”) “Printup’s album gives a solid accounting of himself and a forum for a band of promise.” (Kirk Silsbee – DownBeat on SCCD 31804 “Young Bloods”)

“trioTrio”? - Yes, unfamiliar ensemble name and it needs introduction. nNew York’s elite instrumentalists of the younger generation, Jacob Sacks (piano), Dave Ambrosio (bass) and Vinnie Sperrazza (drums) are the components of this cooperative trio. They have been playing together since around 2000. Here this their first album features two of their most respected soloists, Dave Scott (tp) and Rich Perry (ts) both of who have been playing with trioTrio also since around 2000 at the private sessions Dave Scott hosts. “Nice treatment” is the favoured phrase Dave Scott uses when the music come together. To quote Sperrazza who is the author of the liner notes, Dave and Rich are the “under-sung giants of jazz”.

For the past four plus decades Mark Soskin has been playing a vital role in the world jazz scene as pianist/composer as well as educator (currently on the faculty of the Manhattan School Of Music). Soskin began his professional career first in West Coast but his true breakthrough came with his 14-year tenure with Sonny Rollins. Soskin joined SteepleChase in 2018 and this his third album finds him with the original quartet members from the “17 (Seventeen)” album recorded 20 years ago. “Pianist Mark Soskin has always had some wonderfully bright tones in his work – notes that ring out beautifully, almost with the ease of an electric piano, even when acoustic – and that tradition definitely continues here, as Mark works through a set of well-chosen tracks with a nicely tight trio!” (Dusty Groove -on SCCD 31858 Upper West Side Stories).

Noah Preminger the saxophonist in question here has despite his relative young age (34) checked off an impressive to-do-list for an aspiring artist: releasing first debut album at the age 20, graduating from the prestigious New England Conservatory of Music, then releasing more than a dozen (14 to be precise) of highly acclaimed leader albums and being on the top ranking of Downbeat’s critics’ and readers’ poll list since 2017. In February of 2020, right before everything shut down Preminger came into the studios to record this intriguing debut album with his congenial working ensemble. You will not find the word “contemptment” in your dictionary but you might agree that this socially and politically aware artist sums up the sentiment of the time that we are living in. "Mr. Preminger designs a different kind of sound for each note, an individual destiny and story." (The New York Times) “Intuitive leader… old soul... Virtuosic... Creativity and passion are extremely high.” (Downbeat)

A contrafact is a method of composing a new melody and arrangement on a pre-existing musical composition using its chord progression. In jazz, one of the most famous examples is “Hot House” (Tadd Dameron) based on “What Is This Thing Called Love?” (Cole Porter). Baritone saxophonist Gary Smulyan has been intrigued by this particular way of composition for a number of years. His first album on SteepleChase last year SCCD 31844 “Alternative Contrafacts” is a superlative example of his interest. Here on this new release “Our Contrafacts” is a collection of new contrafacts by contributed by each member of the trio. “While there are occasional short solos by Wong and Green, the focus throughout is on Smulyan, who has yet to record an unworthy record or play an uninspired chorus. His passionate sound and fresh ideas make Alternative Contrafacts a set well worth picking up, particularly by straight ahead jazz collectors.” (Scott Yanow – NYC Jazz Records on SCCD 31844)

Veteran altoist Andy Fusco, since his SteepleChase leader debut in 2015 with “Whirlwind” album, has been releasing one album a year to fill the gap of his under recorded period of the prior decade. This new album, however, had to wait a little over a year for Fusco’s recovery from a medical treatment. He recovered and returned to record here arguably one of his best albums. “Fusco possesses a tart, live wire tone and almost every note feels urgent and animated. His vocabulary is an invigorating extension of the bebop lexicon, with nods to Charlie Parker and Jackie McLean. Flinging short, disparate phrases into the air and miraculously forging connections between them, there's often an unhinged, thrill-ride quality to his playing. Even in the midst of a profuse, jam packed statement, Fusco never eclipses the rhythm section.” (David A. Orthmann – All About Jazz on SCCD 31875 Vortex)

To quote from an article of Village Voice, pianist Russ Lossing is “a gripping improviser, pulling ideas out of the air and nudging them into the action at hand as if they always belonged there”. Here on his new disc the improviser/composer Lossing devotes the whole album to a collection of new original compositions to create a powerfully impressive suite. “Russ Lossing, a talented pianist who has been active professionally for over three decades, found it easy to generate some fresh approaches to playing standards and time-tested jazz compositions, given his track record on earlier small-group record dates.” (Ken Dryden – NYCJR on SCCD 31863 Changes”) “Here’s some nourishing refreshment, and it comes from a piano, bass and drums trio which, while working broadly within a continuum defined by Paul Bley and Bill Evans, carves out distinctive territory of its own.” (Nic Jones – Jazz Journal on SCCD 31863)

Scott Lee had to decide whether to become a pro tennis player or a pro bass player while still a college student in Chapel Hill, N.C. He chose jazz and eventually moved to NY in the late 70s. Lee worked with Chet Baker, Lee Konitz, Zoot Simms, Al Cohn, Freddie Hubbard, Red Rodney, Kenny Werner, Joe Lovano a.o. As his two previous releases SCCD 31649 One Thought and SCCD 31687 Leaving indicate Lee thrives in composing and performing music that transcends the conventional boundaries. In this new album Lee and his cohorts give us a chance to enjoy what he calls “The Game”, a new and unique way of enriching and expanding the horizon of jazz. “Leader and bassist Scott Lee offers simple yet thought-provoking music on the aptly titled One Thought. It’s not the sculpted sound of Tristano’s best-known group, although it has some of its introverted intensity. Those who feel that jazz is losing its creative edge should hear this album and other basically mainstream offerings of the last few years.” (Will Smith – JazzTimes on One thought) “It would be easy to identify most of the tracks here as comprehensively composed music. The improvisation is that good—or maybe its' simply a near-perfect match of sympathetic players”. (Mark Corroto – AAJ on Leaving)

Cornetist/composer Kirk Knuffke is, to quote All About Jazz, “one of modern jazz’s most skilled navigators of the divide between inside and outside, freedom and swing.” This, his 10th leader album on SteepleChase is a resounding proof of Kirk’s empathy and appreciation of “inside” and “swing” early jazz. Kirk assembled a slimmed down Brass Band trio with the leading tuba player Bob Stewart and the versatile Kenny Wollesen on drums to present a dazzling program inspired by the earlier geniuses such as Louis Armstrong. “Tribute albums must of course stand on their own. Knuffke pays homage to Cherry by sounding like himself. The austere format allows an immersion in the full scope of Knuffke’s technically astute and wildly unpredictable creativity.” (Thomas Conrad – NYC Jazz Record on SCCD 31832 Cherryco) “…(Knuffke) puts the emphasis on ensemble interplay, forming an airy, malleable bond with his deft rhythm team while still uncorking one convincing and lyric solo after another. Cherryco feels like a love letter and it’s hard not to share in the ardor. (Peter Margasak – Down Beat on SCCD 31832 Cherryco)

NYC-based saxophonist/composer Adam Niewood was born into a musical pedigree with jazz saxophonist father and classical pianist mother. The composer of the tunes recorded here is Adam’s father, Gerry Niewood who rose to his fame in the 70s and had achieved a successful career until his untimely death 10 years ago. Adam with his dream rhythm section dedicates this album to his father. ”… craftsmanship and attention to detail is also evident in his music. Adam Niewood has a distinctly powerful, supple and soulfully intelligent presence.” (Mark F. Turner – AAJ)

Ronnie Cuber appeared on more than 200 albums in his long and active career of 60 years performing wide range of style and format. This new album finds Ronnie fronting organ/drums/guitar ensemble probably for the first time in 40 years. “Best of all, there’s Cuber himself, whose playing has, incredibly, grown more authoritative with each passing year. His sound, huge and affable, brims with personality, and it’s hard not to be awed by the freshness and wit he brings to chestnuts such as “St. Thomas” and “Honeysuckle Rose,” or the lyricism with which he imbues “All the Things You Are.” (J.D. Considine – JazzTimes on SCCD 31860 “Ronnie’s Trio”)

New York’s stalwart ensemble Vic Juris Trio (with Jay Anderson and Adam Nussbaum) has been regularly performing Vic Juris’ compositions, which are recording ready for this session. Vic’s trademark versatility and inventiveness come to the fore with the use of electric and acoustic guitars. “Juris’ inventive lines and rich harmonic gifts are apparent from the beginning, as is the familiarity of the trio with one another…. The trio … is truly interactive in their stunning interpretation. It’s hard to describe a jazz artist in his 60s as a “talent deserving of wider recognition”, but with CDs like this, Vic Juris has made an ample case.” (Ken Dryden - NYCJ on SCCD31841 “Eye Contact”)

Andy LaVerne, prolific composer, prominent educator and resourceful recording artist of five decades’ experience, is putting a new quintet together here to interpret his timeless compositions. The liner notes by the composer give us an intriguing insight into the working of a creative mind. “…. if you want to learn more about Andy LaVerne, this is a wonderful material with lyricism, musical intensity and well perceived format.” (O. Mathiesen – JazzSpecial on SCCD 31818 “Genesis”)

Stephen Riley’s acclaimed previous release SCCD 31850 Hold ‘em Joe was following Sonny Rollins’ pioneering tenor trio format. Here on his new disc Riley draws his inspiration from Rollins piano-less quartet with cornetist Don Cherry from the 60s. With ace trumpeter Joe Magnarelli as his side kick Riley initiates a new fertile ground for jazz’s old and new expression. “No matter what group Riley puts together for a record date, he merits top marks every time”. (Ken Dryden – NYC Jazz Records on SCCD 31850 “Hold ‘em Joe”) “Riley is a singular talent, not least for his twists on the standard repertory, and this is well up to scratch”. (Ronald Atkins – Jazz Journal on SCCD 31850)

Bassist/Composer/Educator Jay Anderson (b. in California) is so much in demand that it is difficult to come up with any distinguished musicians who have not had Jay in their band for gigs and/or recordings. Here on his 92nd appearance on SteepleChase the label has the pleasure of showcasing Jay Anderson as the frontline soloist/leader. Anderson with dazzling ability to create musical landscape presents 11 tracks with diversity unified by the deep resonance of a double bass superior. “Mr. Anderson has a melodic sense that effectively shapes his solos and adds subtle touches to his accompaniments.” (John S. Wilson – New York Times) “…a most imaginative and sympathetic bassist.” (The Observer - UK)

Since the release of The Pendulum album (SCCD 31826) of 2017, Mike Richmond has been performing increasingly more of cello than his main instrument double bass. Cello’s greater flexibility and singing timbre seem to have captivated Richmond, whose previous cello album “Tones from Joan’s Bones” SCCD 31851 was highly acclaimed by critics as well as by public. Here on this latest album Richmond’s cello again gets the front-line to perform the Great American Song Book repertoire. “The warmth and roundness of sound Richmond achieves makes his cello an ideal front-line instrument …. the sound of a cello is ideal in jazz and the only surprise is that it hasn’t been used in this capacity a lot more often than it has to date. Richmond is an adventurous and imaginative soloist and here he gets to do much more than just provide a bass line”. (Derek Ansel – Jazz Journal on SCCD 31851)

Guitarist John Hart has established the status of leading figure in the modern jazz guitar scene with highly acclaimed releases from Blue Note and Concord in the 90s. He has performed and recording with Jack McDuff, Terumasa Hino, Jimmy Smith, and Lou Donaldson, among others, as well as leading his own group. Hart now divides his time between New York and Miami, Florida where he is a lecturer at his alma mater the University of Miami Frost School of Music. “…He’s an amazingly inventive soloist and composer who is not afraid to step out of his comfort zone.” (John Heidt – Vintage Guitar Magazine)

W. Emile Barnes-cl, Harrison Brazley-tmb, Joseph "DeDe" LaCroix Pierce-tpt, Lawrence Toca-tpt, Billie Pierce-pno, Albert Glenny-bs, Cie Frazier-dms, incl.. Previously unissued material.

When trumpeter Joe Magnarelli (known to most people as Mags) moved to New York City in 1986, he was already fully cultivated and nurtured in the rich jazz environment of upstate New York, especially around Syracuse where he was born. In NYC Joe Magnarelli has rapidly found his own voice and established himself as one of the most-in-demand artists. This is Mags’s first album as a leader on SteepleChase label. “The bop-based trumpeter Joe Magnarelli has it all: a warm, friendly sound, a splendid melodic imagination, a knack for writing memorable themes and for picking the best works by others, and a no-nonsense swing feel.” (The Star-Ledger) “… Joe Magnarelli has all the essentials one looks for in the best jazz musicians. There’s his unshakeable time feel that makes his work vigorous and forward moving …. he crafts captivating, propulsive improvisations …” (Los Angeles Times)