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)

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)

Vic Juris has added another guitar trio masterpiece here on his ever-growing body of recorded works. Since his SteepleChase debut album “Night Tripper” SCCD 31353 of 1994, guitarist Vic Juris has been presenting unique musical universe of unassuming virtuosity and versatility, of which John Kelman of AllAboutJazz once pertinently described as “fresh, in-the-moment and connected to the broadest possible tradition.” “Vic Plays Victor Young is a sensitive melodically exploratory album of standards and rarely covered airs, as should be expected from a seasoned ensemble with a compatible repertoire.” (Howard Mandel – DownBeat **** on SCCD 31829)

Chris Byars, the award winning alto saxophonist, composer, arranger, jazz historian and a 100% native New Yorker set out to “curate the state of jazz to create a sort of time capsule” (Chris Byars) for this new album. What Byars successfully presents here is the genuine creative aspiration that prevails in world’s most diverse and competitive artistic environment. “Chris Byars has done a remarkable job reviving these neglected compositions of Frank Strozier while also putting his own stamp on them with his inventive arrangements.” (Ken Dryden – New York City Jazz on SCCD 31824 The Music Of Frank Strozier)

All About Jazz once stated, “Andrew Rathbun is an artist who takes chances with his recordings. You don’t hear any paint-by-the-numbers jazz discs from him.” This latest release proves again how accurate this statement is. Canadian-born Rathbun has established himself as one of the most compelling voices of American jazz scene today both as performer and as composer. While the composer’s socio-political awareness is manifested in the tune titles, the music which is intellectually emotional speaks louder to our consciousness. “Reedman Andrew Rathbun’s recording dates — dependably rhapsodic, songful, rational — each have plausible logic and worked-out thematic.” (Fred Bouchard – Downbeat on SCCD 31781 Numbers & Letters)

Big G as in George Coleman, Sr. The legendary tenor saxophonist is the featured artist here on Brian Charette’s new album. George Coleman is the recipient of 2015 NEA (The National Endowment for the Arts) Jazz Masters Awards, the highest honor USA gives to jazz musician. For B-3’s most adventurous and talented practitioner Brian Charette who has known the Coleman father and son for more than a couple of decades, this recording materialized as a musical homecoming. “Both B-3 stylist and student, serious jazz scholar and glitzy entertainer, Charette is a burning soloist who understands the tradition of the Hammond B-3 as well its future—just as certainly as he understands his place in that lineage.” (Ken Micallef Downbeat Magazine)

Venezuela-born pianist/composer Olegario Diaz has since 2011 been presenting handful of quality recordings with firm roots in post-bop. Diaz has also published quite a few books on music and musicians. He produced this album, his 5th release to portray Chet Baker as he might write a book about the great artist. “From Juan Sebastian Bar in Caracas to all the great joints in New York, Los Angeles … and the rest of the jazz world, to great open sky concerts, theatres and festivals, Olegario´s groups always give us ¨Something To Remember¨… good jazz! …” (John N. De Souza – Jazz Y Algo Más, Miami, Fl.)

Highly spiritual & musically steadfast, pianist Joel Weiskopf has been making heads turn for quite some time with appearances on his brother Walt's acclaimed series of recordings before traveling on his own maiden voyage as a leader. Here he gives a broader picture of his talents as both a pianist & writer, backed by his brother on tenor, John Swana on trumpet, John Patitucci on bass & Jeff Brillinger on drums. Joel presents 8 distinctive compositions that are as deeply satisfying as they are harmonically complex & innovative.

One of the few exponents of that most unrelenting instrument, baritone saxophonist Ronnie Cuber has spent for more than a half century performing, composing, arranging and leading his own groups. His robust, no-nonsense playing has been acknowledged to be one of the greats among jazz instrumentalists. “…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…” (J. D. Considine – JazzTimes on Ronnie’s Trio SCCD 31848)

Two extraordinary talents from the two totally independent discipline of art forms are meeting here to create a genuinely unique musical experience for us. Kirk Knuffke one of the most prominent of jazz cornetist and New York’s up and coming operatic baritone singer Steven Herring present here, to quote the liner-note author Neil Tesser, “an album that juxtaposes conservatory and nightclub, improvisation and spoken word, the sacred and the secular, into one of the most unusual and inventive projects of Knuffke’s career” Knuffke’s previous release “Cherryco” SCCD 31832 was awarded National Public Radio (USA)’s Jazz Album of the Year 2017.

With this sequel volume to SCCD 31855 SteepleChase is proud to make the first live recordings from Wally’s commercially available. Boston’s historical (it celebrated its70th anniversary last year) live spot is where Jason Palmer and his working band have been performing weekly for the past 12 years. Wally’s is, to quote Fred Bouchard of Downbeat, “…is the world’s oldest black owned continuously operation jazz club. Founded in 1947 by Joseph L. Walcott. Wally’s Café Jazz Club is located in Boston’s historic Jazz Corner…. Barbados-born Walcott built Wally’s as an oasis where the black community could socialize and listen to bands….”

Wally’s, Boston’s historical (est. 1947) live jazz spot, is where the award-winning trumpeter/composer Jason Palmer started to hone his chops some 20 years ago while a student at New England Conservatory. Jason and his Boston-based quintet has been performing there every weekend to the loyal and enthusiastic crowd since 2006. This CD is the first of two documentary live recordings from those electrifying nights in 2016. “Over the past decade, trumpeter Jason Palmer has proven to be one of the most compelling artists of his generation. With each new volume in a series of CDs for SteepleChase, Palmer reveals a different aspect to his musical mind while the expressiveness of his horn continues to expand as well.” (Ken Dryden – the NYC Jazz Record on SCCD 31820 Beauty ‘n’ Numbers)

To say “Pierre Dørge” and not to follow it with “& New Jungle Orchestra” is almost impossible. Dørge created that small big band in 1980, which became a successful and stable vehicle for his adventurous music. They toured all over the world and built an impressive discography along the way. The guitarist/composer/bandleader, however, has never neglected to seek new palette to draw his music in smaller ensembles. Following highly acclaimed quartet release “Blui” of 2016, Dørge surrounds himself with all American colleagues who have deep understanding of Pierre Dørge’s unique soundscapes. “It’s an inspired collection of musicians and all serve the material well, eight songs written by Dørge …. When people think of Dørge, they tend to gravitate toward the NJO releases but his small-group recordings provide an excellent alternative and a more expansive picture of this unique guitarist.” (Robert Iannapollo – NYC Jazz Record on SCCD 31797 “Blui”)

Ronnie Cuber (b. Dec. 25, 1941 in Brooklyn, New York), recognized as one og the most important baritone saxophonists in jazz today, has been composing, arranging and leading his own groups since 1959. His powerful command of the instrument led him to perform and record with amazing array of influential artists in almost all thinkable range of musical spectrum. Yet, this is the very first of basic jazz trio album by Ronnie Cuber, which should have a special place in his discography. “There is not one of his records that contains any half-hearted playing or musical skating. When he plays, it’s serious creative business and he tells a story. If you pick up anything under Cuber’s name, you’re guaranteed a winner …. This recording, ”Ronnie”, released on SteepleChase records, is one of the most vivid and personal saxophone playing ever done on a baritone saxophone. This CD is a shining example of Cuber’s big, beefy baritone sax tone and a fluent technique that is a one of a kind match between the gritty, down-home feeling of R&B and the advanced harmonies of bebop.” (JazzTimes on SCCD 31680 “Ronnie”)

Jazz critic Owen Cordle once described Dick Oatts as “an uncompromising jazz musician, one who possesses monster chops without trumpeting them.” Dick Oatts has, since his move to NYC in the late 70s, been one of the most sought-after soloists on alto sax on both the NY scene and the international stage. Dick Oatts’ sensitive and cerebral approach to music enhanced by his “monster chops” manifested here again on his 11th leader album on SteepleChase. “… maybe the best showcase we've ever heard for the alto sax work of Dick Oatts!” (Dusty Groove on Sweet Nowhere SCCD 31778)

Harold Danko concludes his liner notes entitled “Arriving at The Unknown” on this “Triple Play” album, stating, “I hope … listeners of this CD are prepared to join us as we take off to undiscovered region.” Ever subtle and transcendent pianist/composer Danko and his congenial co-players Jay Anderson and Jeff Hirshfield are unfolding a unique universe of improvising in and on the recognizable repertoire to pleasant surprises. “Danko plays with the kind of finesse and heartfelt emotion that has always marked his work. Bravo! (C. Andrew Hovan – AAJ on SCCD 31471 This Isn’t Maybe…)