The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.

Duke Jordan (1920 – 2006) was approached in NY by Marcel Romano, musical consultant of the French film Les Liaisons Dangereuse directed by Roger Vadim in 1959 to audition for the soundtracks. It laid down the groundwork for Jordan’s rise to the star composer status. All too famous “No Problem” is not included in this sketching but a few of the tunes we come to appreciate later are here in their prototypes. This recording made in a NY studio has never been heard (except maybe by Vadim). SteepleChase is proud to announce the world premier release of the album of cultural/historical significance.

New York’s ace trumpeter Joe “Mags” Magnarelli’s third outing on SteepleChase is condensed to a quartet format with trumpet as the sole frontline giving the leader new dimension and depth to define his voice. His previous release (SCCD 31939 New York-Osaka Junction) received enthused remarks “…he is particularly outstanding, demonstrating a brilliant clarity that could be called the height of sophistication.” (Catfish-Records, Japan) and “Magnarelli has always been a jazzman-of-all-work, good in small groups like this one and great at starring in big bands and he's on fire here” (JazzWise-Peter Vacher UK)

Many of us old-timers remember George “Big G” Coleman in the late 50s and 60s performing with almost every single legendary name in that golden era of American jazz, a.o. Miles Davis. Coleman who turns 90 this year is still going strong and surrounds himself with the elite artists of younger generation including the leader of this album Brian Charette (Hammond-B3). This album can be seen as the sequel to 2018’s “Groovin’ With Big G” (SCCD 31857) again with Charette in charge of keeping the music flowing. “This is a mellow date, a blowing date to be sure but Charette’s B-3 rarely goes the funk route and is closer to Wild Bill Davis. Coleman’s tenor is as strong as ever and while not aggressive, it is still forceful.” (Papathomas on SCCD 31857)

Storyville Records is proud to present Danish pianist and composer Carsten Dahl's new album, In the Middle of Nothing - to Palle Mikkelborg, on April 11, 2025. In the Middle of Nothing is a deeply personal tribute to one of Scandinavian jazz's most visionary figures. This recording is both a celebration and a meditation, honoring the legendary Palle Mikkelborg, trumpeter, composer, arranger, and spiritual guide to generations of jazz musicians. The album consists of 7 tracks, all arranged and composed by Carsten Dahl. Mikkelborg's influence spans decades, transcending borders and genres. His sound is otherworldly, his approach both intimate and expansive. He has spent a lifetime exploring the space between sound and silence - seeking, as Dahl describes, "the sublime sound of nothing in everything and the sound of everything in nothing." With In the Middle of Nothing, Carsten Dahl channels this philosophy into a deeply atmospheric and immersive listening experience. The album carries a special dimension, as Mikkelborg himself participates alongside his wife, the renowned harpist Helen Davies. Together, they join Carsten Dahl Ensemble in a sonic exploration where the boundaries between composition and improvisation dissolve, creating a musical universe that is at once ethereal and profoundly grounded. The album also features contributions from a slew of prominent names in Scandinavian jazz, including saxophonist Fredrik Lundin, bassist Nils Bo Davidsen, drummer Thomas Pasborg, a string sextet, and BBC Children's Choir. Palle Mikkelborg's trumpet playing is deeply rooted in both jazz tradition and Nordic storytelling, drawing as much from American pioneers like Miles Davis and Louis Armstrong as from the legacy of Carl Nielsen, H.C. Andersen, and Soren Kierkegaard. His music is elusive, poetic, and rich with mystery, never adhering strictly to genre but instead embracing time, space, and silence as integral elements of musical expression. Carsten Dahl, one of Denmark's most innovative and adventurous musicians, is known for his boundless imagination and fearless exploration of sound. With an unparalleled sense of improvisation, he bridges the worlds of jazz, classical, and avantgarde, constantly searching for new expressions and emotional depth. In the Middle of Nothing - to Palle Mikkelborg is a testament to the power of listening, of presence, and of music's ability to transcend the tangible world. It's an album for those who seek music that exists beyond boundaries, where jazz meets folklore, and where silence meets sound.

With sounds that whistle deep blue and remind you of the blues - the origins of jazz? - in his new composition Robin Verheyen takes colors from Jean Fouquet's 'Madonna' and assigns them to his tenor and soprano, the three musicians of the Goeyvaerts String Trio and the 88 keys of Marc Copland's piano.

Storyville Records is pleased to announce the release of In Rome, a new album by Danish bassist Thomas Fonnesbaek alongside esteemed jazz musicians, pianist Enrico Pieranunzi, saxophonist Rosario Giuliani, drummer Roberto Gatto and singer Valentina Ranalli. This recording consists of 11 original compositions, 9 by Pieranunzi, 1 by Fonnesbaek and 1 by Gatto. Thomas Fonnesbaek is considered one of the most important and distinctive bassists on the European jazz scene today. His virtuosic technique, "Nordic sound" and ability to craft cohesive solos place him in the lineage of Danish bassists like Niels-Henning Ørsted Pedersen, Bo Stief and Jesper Lundgaard, while also showing kinship with greats like Dutch bassist Hein van de Geyn and prominent Swedish bass players. Nevertheless, Fonnesbaek's style is uniquely his own, honed through a self-taught journey that captivates audiences with a rare ability to evoke Duende - the inexplicable power of attraction that moves listeners emotionally, a concept coined by Spanish poet Federico Garcia Lorca. For those who have had the privilege of experiencing Fonnesbaek live, they will recognize this Duende in his playing. He often takes risks that challenge both his fellow musicians and audiences, creating moments of magic. In Rome captures these moments, highlighting Fonnesbaek's collaboration with some of Europe's finest musicians. At the core of the album is the partnership between Fonnesbaek and Enrico Pieranunzi, one of Europe's most revered pianists. Pieranunzi, known for his collaborations with the likes of Chet Baker, Marc Johnson, Paul Motian, and the legendary film composer Ennio Morricone, brings his extensive jazz and classical music background to this recording. Having recorded numerous albums together, Pieranunzi and Fonnesbaek share a musical chemistry that fuels this project. Joining the trio is Roberto Gatto, a drummer celebrated in European jazz circles. His elegant, sensitive approach enhances the group's interplay, while Rosario Giuliani on saxophone and Valentina Ranalli on vocals further elevate the music. In Rome is a testament to the creativity and mastery of European jazz. This album is jazz at it's finest!

After the 45-year world jungle expedition, guitarist/composer/chieftain Pierre Dørge takes his tribe to its home turf Copenhagen’s fabled Jazzhus Montmartre to record live their latest album filled with all but one new vibrant compositions by Dørge. Donald Elfman of AAJ once remarked, “Pierre Dørge has what seems like a magical ability - he can re-imagine and re-think the way that music is voiced thus creating entire new worlds out of worlds we think we know.”

After two years of solo touring, Yaron Herman presents his new album Radio Paradise. He returns with an exceptional ensemble, joining forces with two of the finest saxophonists in the world: Maria Grand, a rising international star, and Alexandra Grimal, a major figure in improvised music. This album takes us on a quest for lyricism, depth and sincerity, with elegant melodies and powerful rhythms, in a project that is both spiritual and deeply moving. "When I started working on this album, the first thing that came to my mind was melody. I have been writing a lot over the last few years, mostly in my notebooks, for myself. On the road or at home, anything from long lines to short fragments. With time, (and hard work) these "motifs" started to take shape and turn into "songs". While playing them, exploring what they could become, I realized I was looking for a sound that wasn't "just» the piano. These melodies required another voice. Saxophonists Maria Grand and Alexandra Grimal have different approaches, yet both have a mysterious, powerful and lyrical quality that I was looking for. Those qualities, combined with Haggai Cohen Milo's beautiful tone and rhythmic versatility and the playing and precious ideas throughout the Process of my longtime musical brother, Ziv Ravitz, made these songs truly come to life. In the studio we were fortunate to have the experience and perspective of producer Daniel Yvinec who encouraged us to push the music further, taking risks. I imagined each composition as a different scenario, a landscape offering a fertile ground from which improvisation could grow. Improvisation: a quest for the sweet spot between freedom and constraint. The playfulness of it all. Providing the tools but not the final edifice, providing the canvas but not dictating what to paint on it. That's how Radio Paradise happened. We stumbled upon the title in the studio, while discussing how opposites complete each other, and how our role as artists is to try and reconcile that which seems in opposition. To find the space where music flows effortlessly, and from the heart." YARON HERMAN

After two years of solo touring, Yaron Herman presents his new album Radio Paradise. He returns with an exceptional ensemble, joining forces with two of the finest saxophonists in the world: Maria Grand, a rising international star, and Alexandra Grimal, a major figure in improvised music. This album takes us on a quest for lyricism, depth and sincerity, with elegant melodies and powerful rhythms, in a project that is both spiritual and deeply moving. "When I started working on this album, the first thing that came to my mind was melody. I have been writing a lot over the last few years, mostly in my notebooks, for myself. On the road or at home, anything from long lines to short fragments. With time, (and hard work) these "motifs" started to take shape and turn into "songs". While playing them, exploring what they could become, I realized I was looking for a sound that wasn't "just» the piano. These melodies required another voice. Saxophonists Maria Grand and Alexandra Grimal have different approaches, yet both have a mysterious, powerful and lyrical quality that I was looking for. Those qualities, combined with Haggai Cohen Milo's beautiful tone and rhythmic versatility and the playing and precious ideas throughout the Process of my longtime musical brother, Ziv Ravitz, made these songs truly come to life. In the studio we were fortunate to have the experience and perspective of producer Daniel Yvinec who encouraged us to push the music further, taking risks. I imagined each composition as a different scenario, a landscape offering a fertile ground from which improvisation could grow. Improvisation: a quest for the sweet spot between freedom and constraint. The playfulness of it all. Providing the tools but not the final edifice, providing the canvas but not dictating what to paint on it. That's how Radio Paradise happened. We stumbled upon the title in the studio, while discussing how opposites complete each other, and how our role as artists is to try and reconcile that which seems in opposition. To find the space where music flows effortlessly, and from the heart." YARON HERMAN

In 1974 SteepleChase released Perceptions SCCD 31022 by pianist Connie Crothers (1941- 2016) who was one of the prominent students of legendary Lennie Tristano. Now, 50 years later SteepleChase is proud to present Crothers’ mentees jazz pianist/free improviser/singer Caroll Leibowitz and alto saxophonist Nick Lyons in tandem inviting us to their unique soundscape that encompasses the past, present and future of jazz. “…. almost telepathic… hypnotically engaging…” (Roger Farbey - All About Jazz on Liebowitz-Lyons previous release)

Hammond B-3 organ has a rich host of illustrious players in the jazz history including Jimmy Smith, Jack McDuff, Joey DeFrancesco to mention a few, but Brian Charette is the first (and so far the only) jazz artist who recorded solo organ albums. The first release was highly acclaimed SCCD 31756 Borderline of 2013. Here on his third solo endeavour Charette delights us premiering as vocalist on 2 tracks. “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)

It's a chance encounter between three personalities and their distinct universes that sparked the origin of this magical music. A meeting between jazz, world music and fusion. The prospect of the perfect world where listening and mutual respect lie at it's heart. Like an insidious and enchanting philter, Macondo's music tends to make you lose all sense of time and space.

Steve Swallow who is one of the pioneers of electric double bass in jazz noted that Millhouse “is using it to help define and refine what the electric bass can do to refresh jazz music.” Eminent practitioner of this unique six-string instrument Millhouse as bassist and guitarist in one creates again on this second album with the saxophone trio format refreshing and formidable jazz. “With the rich saxophone and drum sounds the 6 strings incorporates chord playing techniques and moves around freely showing the way electric bass should be in modern jazz.'' (K. Harada- Bass Magazine on SCCD 31942 Unwinding)

Niemandsland is Matthias Meyer's first own album. The international quintet (Larsen is Danish and Braylovskiy Russian) is his first own group. This seems amazing given the maturity of the compositions and arrangements, the density of the interplay as well as the collective spirit and individual class. One reason is certainly the freshly won, purposefully implemented artistic self-image of the bandleader. The close connection between the band members is just as important.

Yes, Brouqui is French and a phenomenal guitarist/composer and this is his SteepleChase debut album. But no, this is not of French Gypsy tradition. He is out of pure American modern jazz vein with a touch of French elegance. He commutes between Paris and NYC performing and recording. “A warm jazz full of swing. His inspired and fast guitar interprets with assurance and sensitivity. We will savour the creative breath of his improvisations…. highly recommended.” (Claude Olberg - Jazz Magazine)

NY’s venerable veteran bassist Ron McClure’s new release is a case of “Lost and Found”. The recording was made 32 years ago at Manhattan’s upper Eastside nightclub Danshaku (Baron in Japanese). McClure was hired to play a gig and formed a trio with pianist Don Friedman (1925-2016) and guitarist Vic Juris (1953-2019). The gig was privately recorded but the tape was lost. Long story short, the missing tape was found last year in a NY apartment and its sound has been restored meticulously for us to experience a fabulous night of NY jazz scene three decades ago. “McClure is recognized for inventive improvising, creative compositions in a wide variety of settings and immaculate tone.” (Ken Dryden – NYCJR on 31935 Night Quest)

I share my personal experiences with the ensemble using materials ranging from graphic scores and written melodies, to photos and stories. These materials function as unfinished compositions and as such challenge us to creatively connect our own ideas and sounds to the music, over and over again. To deal with this freedom in a musical way, we developed strategies for collective improvisation during a two-year artistic research process focussed on the Dutch tradition of free improvisation from the 1960s. This combination of recollection and improvisation has resulted in a record that is playful and personal, yet has an evocative, nostalgic, and impressionist character.

Floð og Fjara is Gulli Gudmundsson's new project. The Icelandic bassist has been a cornerstone of the Dutch jazz scene for many years. His new trio has a chamber music-inspired setup. With pianist Jeroen van Vliet and trumpeter Koen Smits, he has found two musicians who share his pursuit of similar sound ideals.

It's a gift that has been handed to Jasper: the ability to choose a musical partner for a unique project where the sum of the parts far exceeds the normal mathematical result. The result is the epitome of synergy. These great live recordings are addictive. Not merely because of their lovely tones, thrilling turns, subtle waywardness and the restrained calm that pervades them. No, it is first and foremost the overall vibe that makes this release so special. You're literally transported to a sound world that breathes, where a liberating space prevails. Your sense of time wavers and you feel connected to the language of the players. Listening to them places you fully in the Now.

Canadian-born saxophonist/composer Andrew Rathbun has been holding the position of Professor of Saxophone and Jazz Studies at Western Michigan University in Kalamazoo since 2012. Rathbun, however, is not the one who confines himself in the ivory tower but has been active in performing and recording in New York and internationally. He presents here his 10th leader album on SteepleChase. All but two titles were penned by the leader having guitar (played by Nate Radley) as featured instrument creating as always intellectual and at the same time thoroughly emotionally moving music.

« Je me souviens de l'epoque où Sacha Distel etait guitariste de jazz. » Georges PEREC, Je me souviens, Hachette, Paris, 1978. Alexandre "Sacha" Distel, neveu du celebre chef d'orchestre Ray Ventura, emerge comme une figure cle du jazz dans les annees 1950. Influence par son oncle et les musiciens qu'il cotoie, il apprend la guitare avec Henri Salvador. Considere comme l'un des meilleurs guitaristes francais des 1956, il collabore avec des geants du jazz tels que Dizzy Gillespie, Stan Getz et Lionel Hampton avant de connaitre le succes dans la chanson. Alexandre "Sacha" Distel, the nephew of famous French bandleader Ray Ventura, emerged as a key figure on the jazz scene in the early fifties. Under the influence of his uncle and the musicians alongside him, he learned to play the guitar with Henri Salvador and by 1956 he was considered one of the best guitarists in France. Before going on to become a successful singer, Sacha played with such jazz giants as Dizzy Gillespie, Stan Getz and Lionel Hampton.

“colorful, witty, unpredictable, inventive and swinging” is what jazz critic Scott Yanow observes of cornetist/composer Knuffke. He created here an astoundingly musical sounding board by the two phenomenal double bass players: SteepleChase stalwart Jay Anderson (left channel) and Swedish born Thommy Andersson (right channel). 180g Audiophile Vinyl

Drummer/composer/educator Steve Johns moved to New York after graduating from the New England Conservatory of Music in 1982. While still a student, he won the Outstanding Drummer Award at the Notre Dame Collegiate Jazz Festival. His musical career then took off performing with a barrage of luminaries of the world jazz scene. Here is Johns’ SteepleChase leader debut showcasing not only his versatile dexterity but his astounding talent as composer.

Cette selection de Jean-Baptiste Mersiol et livret de Stephanie Acquette reunit les enregistrements historiques des scenes marquantes du drame romantique Ruy Blas et de quelques poemes du prolifique Victor Hugo, declames par certains des plus grands comediens francais du XXe siecle entre 1958 et 1962. Les interpretations de Paul-emile Deiber, dans son premier grand role dramatique, Pierre Dux ou Jean Meyer, offrent une fenêtre sur l'ame du theatre francais de cette epoque. Temoignage unique sur l'art de la declamation propre au lyrisme de cette periode, ce coffret consacre celui qui selon Andre Gide etait « helas ! » le plus grand poete francais qu'il n'a, encore aujourd'hui, jamais cesse d'être. This selection by Jean-Baptiste Mersiol and booklet by Stephanie Acquette brings together historic recordings of key scenes from the from the Romantic drama Ruy Blas and a selection of poems by the prolific Victor Hugo, recited by some of France's by some of the greatest French actors of the 20th century between 1958 and 1962. Performances by Paul-emile Deiber, in his first major in his first major dramatic role, Pierre Dux and Jean Meyer, offer a window into the soul of French theater at the time. Period. A unique testimony to the art of declamation specific to the lyricism of this period, this boxed set celebrates the man who, according to Andre Gide, was "alas!" the greatest French poet he still is today. RUY BLAS : DON SALLUSTE - LA REINE D'ESPAGNE - RUY BLAS - DON CeSAR - LE TIGRE ET LE LION. PAR LES COMeDIENS DE LA COMeDIE FRANcAISE. POeSIES : JEAN DESCHAMPS : OCEANO NOX - LE MENDIANT - DEMAIN DeS L'AUBE - L'EXPIATION - SOLEILS COUCHANTS - TRISTESSE D'OLYMPIO • ANDRe FALCON : CE SIeCLE AVAIT DEUX ANS... - T'EN SOUVIENS-TU MON FReRE ? • MAURICE TEYNAC : VIEILLE CHANSON DU JEUNE TEMPS - LE SACRE DE LA FEMME - CHANT DU BOL DE PUNCH - a L'HOMME - PUISQUE MAI TOUT EN FLEUR - AVE, DEA, MORITURUS TE • GEORGES WILSON : APReS LA BATAILLE - JEANNE AU PAIN SEC • PAUL-eMILE DEIBER : LA ROSE DE L'INFANTE • GEORGES DESCRIeRES : VIENS, UNE FLÛTE INVISIBLE - LA VACHE • JEAN DAVY : LA MORT D'UN CHIEN - SAISON DES SEMAILLES • GeRARD PHILIPE : BOOZ ENDORMI.

The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.

Alex Norris has been one of the most sought-after elite trumpeters for the past three decades on NY scene. Norris received a Master's degree from the Manhattan School of Music and a Doctor’s degree from the Univ. of Miami Frost School of Music. He has kept busy schedule performing principal post in renowned large and small ensembles all over the world. Despite his impressive achievement Alex Norris’ leader albums are scarce. This is his fourth album and the second for SteepleChase. Norris forms a time-tested yet distinctive trumpet trio with some contemporary twists superbly collaborated by Paul Bollenbach on guitar and Paul Gill on bass. “…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)

Anthony Ferrara for his third album here teams up again with the dream rhythm section of Versace/Anderson/Drummond. Ron McClure who was one of Ferarra’s teachers at NYU once commented on this group, “This is a four-way conversation between four men who have a mutual respect of the process of making music, always cognitive of the group effort. Had they played the Manhattan phonebook, they would have made it work.” “What is particularly impressive about Ferrara is that he not only has a mature, confident and appealing sound, but also is finding his own voice. Ferrara is also a capable composer, penning a diverse set of songs that invite repeated hearings, a huge challenge for any musician at the beginning of their career.” (Ken Dryden – NYCJR on SCCD 31938 Cold Faded)