Armenian piano virtuoso Tigran Hamasyan returns with Manifeste, out February 6, 2025-a powerful fusion of jazz, progressive rock, and Armenian folk. Recorded across five countries, the album blends rhythmic complexity, cinematic depth, and spiritual intensity, featuring longtime collaborators and the Yerevan State Chamber Choir. Manifeste is a bold declaration where the human, digital, and sacred unite in sound. Following The Bird of a Thousand Voices, Hamasyan continues his artistic exploration with Manifeste (2025)-a bold, multi-dimensional statement recorded between 2023 and 2025 across studios in Yerevan, Athens, Moscow, Los Angeles, and beyond. Entirely composed and produced by Hamasyan, Manifeste fuses his signature rhythmic complexity and spiritual depth with a more cinematic soundscape, where Armenian folk roots, progressive rock intensity, and choral mysticism intertwine. The album unfolds like a ritual sequence-from the meditative "Prelude for All Seekers" to the powerful "National Repentance Anthem. " Collaborators include longtime partners Marc Karapetian (bass) and drummers Arthur Hnatek, Arman Mnatsakanyan, Matt Garstka, and Nate Wood, alongside contributions from cellist Artyom Manukyan, trumpeter Daniel Melkonyan, guitarist Nick Llerandi, and the Yerevan State Chamber Choir conducted by Kristina Voskanyan. Each piece radiates Hamasyan's fascination with transcendence and transformation, whether through the fiery rhythmic drive of "Dardahan" and "Ultradance, " the haunting choral layers of "One Body, One Blood, " or the intimate dedications "Years Passing (For Akram)" and "A Window from One Heart to Another (For Rumi). " In Manifeste, Hamasyan brings together the human, digital, and sacred-a declaration of unity through sound, where modern technology meets ancient resonance. In addition to awards and critical acclaim, Hamasyan has built a dedicated following worldwide, as well as praise from Herbie Hancock, Brad Mehldau, and the late Chick Corea. "With startling combinations of jazz, minimalist, electronic, folk, and songwriterly elements. Hamasyan and his collaborators travel musical expanses marked with heavy grooves, ethereal voices, pristine piano playing and ancient melodies. You'll hear nothing else like this. " (NPR)

Armenian piano virtuoso Tigran Hamasyan returns with Manifeste, out February 6, 2026-a powerful fusion of jazz, progressive rock, and Armenian folk. Recorded across five countries, the album blends rhythmic complexity, cinematic depth, and spiritual intensity, featuring longtime collaborators and the Yerevan State Chamber Choir. Manifeste is a bold declaration where the human, digital, and sacred unite in sound. Following The Bird of a Thousand Voices, Hamasyan continues his artistic exploration with Manifeste (2025)-a bold, multi-dimensional statement recorded between 2023 and 2025 across studios in Yerevan, Athens, Moscow, Los Angeles, and beyond. Entirely composed and produced by Hamasyan, Manifeste fuses his signature rhythmic complexity and spiritual depth with a more cinematic soundscape, where Armenian folk roots, progressive rock intensity, and choral mysticism intertwine. The album unfolds like a ritual sequence-from the meditative "Prelude for All Seekers" to the powerful "National Repentance Anthem. " Collaborators include longtime partners Marc Karapetian (bass) and drummers Arthur Hnatek, Arman Mnatsakanyan, Matt Garstka, and Nate Wood, alongside contributions from cellist Artyom Manukyan, trumpeter Daniel Melkonyan, guitarist Nick Llerandi, and the Yerevan State Chamber Choir conducted by Kristina Voskanyan. Each piece radiates Hamasyan's fascination with transcendence and transformation, whether through the fiery rhythmic drive of "Dardahan" and "Ultradance, " the haunting choral layers of "One Body, One Blood, " or the intimate dedications "Years Passing (For Akram)" and "A Window from One Heart to Another (For Rumi). " In Manifeste, Hamasyan brings together the human, digital, and sacred-a declaration of unity through sound, where modern technology meets ancient resonance. In addition to awards and critical acclaim, Hamasyan has built a dedicated following worldwide, as well as praise from Herbie Hancock, Brad Mehldau, and the late Chick Corea. "With startling combinations of jazz, minimalist, electronic, folk and songwriterly elements. Hamasyan and his collaborators travel musical expanses marked with heavy grooves, ethereal voices, pristine piano playing and ancient melodies. You'll hear nothing else like this. " (NPR)

Captured live at Ann Arbor, Michigan’s renowned jazz club Blue Llama in June 2024, David Janeway presents himself at the height of his powers, joined by the world class rhythm team of Robert Hurst III and Billy Hart. A Detroit bred musician with a deep lineage in that city’s storied jazz tradition, Janeway channels decades of mentorship, swing, and blues rooted expression into a set that is both powerfully modern and historically grounded. The trio’s telepathic interplay fuels inventive takes on standards, luminous ballads, and Janeway’s distinctive originals, all delivered with the group’s tightly converging sound and emotional depth that define his artistry. Following acclaimed SteepleChase releases with Hart and Cameron Brown, this live recording stands as Janeway’s most vibrant statement yet—an inspired document of three master musicians creating in the moment. “It is no small feat to say that not only is Janeway’s playing sparkling but so is his ability to write tuneful compositions.” Michael P. Gladstone, All About Jazz Review

Eternal Child, Avishai Cohen's new album, will be released in May and showcases the full depth of his artistry as a bassist and composer. Years later, he reunites with drummer Jeff Ballard on selected tracks, recalling their strong musical connection forged alongside Chick Corea. Recorded at the renowned Studio de Meudon in Paris, Eternal Child stands as a major new chapter in Cohen's work.

Guitarist/Composer Matt Panayides makes a compelling SteepleChase debut with Present Echoes, a vibrant quartet session featuring tenor saxophonist Rich Perry, bassist Steve LaSpina, and drummer Mark Ferber. Written in the wake of drummer Anthony Pinciotti's passing, the album presents a full program of originals shaped by reflection, momentum and deep musical heritage. Panayides' writing blends modern harmonic motion with spacious grooves, while the band's interplay highlights each member's individuality-Perry's open, lyrical sound, LaSpina's agile virtuosity, and Ferber's dynamic palette. From the expansive 'Midwestern Skies' to the powerful suite like 'Resist' and a heartfelt reading of Wayne Shorter's 'House of Jade,' Present Echoes introduces a jazz' lead guitar with mature, distinctive voice and a quartet unified by purpose, sensitivity, and forward looking energy. 'With a look back to classic Jazz guitar and a look forward to what awaits Jazz guitar, Matt Panayides provides the prism through which we may look in wonder.' (Travis Rogers, Jr. - The Jazz Owl)

Swedish vocalist Anna Pauline celebrates over two decades in jazz with her new album, Lucky To Be Me, out June 26 on Storyville Records. The album is a culmination of years of artistic exploration, mentorship, and collaborative discovery. It features standout performances, including a trumpet solo by jazz legend Randy Brecker on Pauline's original composition "Just One Song" and a duet with Janis Siegel of The Manhattan Transfer on the title track. This 10-track recording includes one original composition and nine interpretations of jazz standards, cinematic favorites, and musical-theatre classics. The repertoire reflects Pauline's deep engagement with the Great American Songbook, the narrative richness of musical theatre, and the improvisational possibilities of jazz. Each track captures a moment of musical conversation and spontaneous discovery, anchored by Pauline's luminous voice and emotional depth. The project gained momentum in 2023, when Pauline met Siegel in Sweden through pianist Mattias Nilsson. Their first duet sparked a musical understanding that quickly evolved into mentorship and collaboration. Siegel later introduced Pauline to pianist, arranger, and producer John Di Martino, whose arrangements and artistic direction shape the album's sound. Di Martino assembled a group of top New York jazz musicians and crafted each arrangement to showcase both Pauline's voice and the ensemble's improvisational interplay. The sessions were recorded in New York with a strong emphasis on live interaction, allowing the music to unfold naturally. For Pauline, Lucky To Be Me realizes a long-held dream while marking a personal and musical turning point. Recording in New York, the birthplace of much of the music that inspired her, was both symbolic and deeply meaningful. Working closely with Di Martino, Pauline blended her Nordic sensibility with the rhythmic vitality and storytelling of American jazz. This creative dialogue has produced arrangements that honor the original material while highlighting her distinctive interpretive voice. This collaborative approach shapes the album's repertoire, which combines an original composition with reinterpretations of classics from jazz, film, and musical theatre. Tracks like Leonard Bernstein's "Lucky To Be Me" and Michel Legrand's "Les Parapluies de Cherbourg" showcase Pauline's capacity to inhabit each song fully, while Rodgers & Hammerstein's "The Sound of Music" and Josef Myrow's "Autumn Nocturne" highlight her subtle phrasing and improvisational creativity. Collaborators including saxophonist Aaron Heick, trumpeter Freddie Hendricks, and percussionists Khalil Kwame Bell and Vince Cherico bring drive and textural richness to each performance. Recorded at Trading 8s Recording Studio in New Jersey, with duets tracked in Sweden and mixed and mastered by Dave Darlington at Bass Hit Studio in New York City, the album unites two musical worlds: a Nordic jazz voice in dialogue with American tradition, enriched by mentorship and musical lineage. Lucky To Be Me is a celebration of connection, creativity, and the joy of jazz storytelling, bringing together musicians, traditions, and generations in a shared musical journey.

Celebrating its legacy from the 1976 LP and 1990 CD release, Stable Mable returns in May 2026 as a newly remastered 180g audiophile edition (G1040). Captured in Copenhagen just weeks after Dexter Gordon’s ambitious orchestral project SCCD 31030 More Than You Know, this session strips the setting back to its purest form: a no frills blowing date where Gordon’s imagination, authority, and melodic wit shine without disguise. Joined by Horace Parlan, Niels Henning Ørsted Pedersen, and Tony Inzalaco, Gordon navigates standards like Just Friends, Misty, Red Cross, and So What with a mix of relaxed confidence and fiery invention. His soprano reading of In a Sentimental Mood adds a rare, reflective touch. Remastered from the original tapes, this edition highlights the quartet’s clarity, swing, and interplay—an essential snapshot of Gordon’s Copenhagen years and a definitive statement of his enduring mastery. “...Dexter plays brilliantly on every track ...beautifully recorded..”(Jazz Journal 1976)

Recipient of Village Voice Obie Award tenor saxophonist Vito Dieterle makes a striking SteepleChase debut with Nerve Case, presenting a warm, full bodied sound shaped by years on the New York scene and deep roots in Chicago's tenor tradition. For those of you who do not know much about Vito, here's some interesting excerpts from his website: After attending the prestigious New School Jazz program and freelancing around NYC, Vito began to perform weekly with his band every Sunday at Little Branch starting in early 2005 and soon went on to curate a 5-day a week live music program for the venue, which immediately went on to critical acclaim and exists to this day. He has now gone onto curate festivals and venues in New York and abroad. His working band of guitarist Kris Kaiser, bassist Griffin Fink, and drummer Aaron Seeber shares a rare chemistry that drives the album's mix of standards, jazz gems, and two originals. Dieterle's tone bold and clear leads the group's interplay to a conversational flow. From the Tristano tinged opener 'Split' to the soulful ballads and the bluesy title track, Nerve Case introduces a mature, distinctive voice and a ensemble sound built on shared musical purpose.

John McNeil (March 23, 1948 – September 27, 2024) launched his professional career with debut LP "Embarkation” SCS 1099) on SteepleChase in 1978 a few hours before he turned 30. Age 30 was his goal to release his first and he remarked “I just made it!” John McNeil’s There Is No Greater Love (SCCD 34007) unveils a previously unheard 1983 Odense, Denmark session, capturing the trumpeter at a creative peak during his extensive Scandinavian tour. Joined by Danish masters Jesper Lundgaard (bass) and Aage Tanggaard (drums), McNeil delivers a warm, incisive set blending standards, bebop classics, and his own “Out”. His bright, agile phrasing — long praised for its roots in Miles, Hubbard, and the Parker lineage—meets a deeply swinging Nordic rhythm team. This newly discovered trio date highlights McNeil’s lyrical clarity, spontaneous invention, and enduring place in the modern jazz tradition.

GRAMMY-nominated drummer Nate Smith, known for his deep groove and genre-blending style, has worked with legends like Pat Metheny and Jose James, and wowed millions with his viral drum videos. Following acclaimed projects like KINFOLK: Postcards from Everywhere and Pocket Change, Smith returns with a new album, out August 29, continuing his journey through jazz, R&B, and beyond. Some of the most renowned names in the jazz scene have joined him on the project, including Lalah Hathaway, Michael League, Lionel Loueke, and more.

Tenor saxophonist Andrew Rathbun and pianist Gary Versace-longtime collaborators on several acclaimed SteepleChase sessions-meet for the first time as a duo on Episodes, revealing a striking new dimension in their musical partnership. Versace's chameleon like ability to shift color, texture, and groove pairs seamlessly with Rathbun's ever evolving compositional voice, whose pieces here range from unmetered shapes to baroque tinged counterpoint and driving ostinati. The duo's interplay is vivid and deeply attuned: Versace favors linear, wriggling motion over harmonic cushions, while Rathbun's improvisations unfold with narrative clarity, balancing modern language with melodic focus. Across the surreal, atmospheric 'Episodes' series and the contrasting standalone works, the two push themselves into unfamiliar territory, crafting music that feels exploratory and quietly daring-an inspired debut for a duo with limitless potential. 'Rathbun is a unique voice on saxophone with a style and sound of his own.' (Ed Sapiega - Jazzview) 'All For Now (SCCD 31933) makes a solid case for what an all-around inventive player Gary Versace is. ' (DownBeat)

The entire project is both spare and impossibly lush. While this may sound like a contradiction, it has everything to do with the virtuosic musicianship of pianist Art Hirahara and Jim Tomlinson, as well as Stacey's elegant and unadorned vocal approach. The opening track, Lucky To Be Me, works as an invitation to the theme of the album and uses the open space between vocal phrases to draw us in. And, while all of the tracks are worth an unadulterated listen, I'm going to list a few of my favorites, starting with La Javanaise, which is delivered with an almost offhanded musical precision and sung in Stacey's pitch-perfect French. The surprising warmth of Stacey's lower vocal range makes A Time For Love the intimate ballad it was meant to be. Jim's tenor sax does the same, so that his playing is the ideal complement to Stacey's voice. The entire album is a joy to listen to both musically and sonically. It was lovingly recorded and mixed by Jim (yet another of his talents) at their home studio in Virginia. - Cliff Goldmacher Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy® nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold, and Gold-selling albums that have reached a series of chart-topping positions. Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London, where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson. Kent's musical journey began with childhood piano lessons. A keen ear and true voice led her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum-selling, Grammy®-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career. Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband, in collaboration with the Nobel Prize-winning author Kazuo Ishiguro, with whom they have worked since 2006. She has also recorded with Brazilian legends Marcos Valle, Roberto Menescal, and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène. Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as-yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love, set to appear on April 3rd, 2026.

In Good Company marks the powerful debut of Argentine alto saxophonist Tomás Martínez on SteepleChase in June 2026. At just 26 Martínez brings a rich tone, agile bebop phrasing, and a deep command of jazz tradition. The album features two standout groups: a New York quartet with Michael Weiss, David Wong, and Kenny Washington, recorded at the legendary Van Gelder Studio, and a vibrant trio session from Buenos Aires with Paul Sikivie and Teo Pérez. Mixing classics, bebop lines and originals, Martínez honors mentors like Charlie Parker, Barry Harris, and Charles McPherson while asserting a voice entirely his own. A fresh, swinging new presence on the international jazz scene. Martínez has performed at major venues across Argentina and Europe, and was named a Distinguished Personality and Cultural Ambassador of his hometown. He is also an active educator, teaching jazz saxophone at the college level and leading workshops and masterclasses. Currently based between Buenos Aires and New York, he continues to perform, record, and teach.

Thad Jones (1923 - 1986) was best known as the leader / composer / arranger of one of the best big jazz bands of the 1960s and 70s. But Thad was also a superb instrumentalist in smaller settings. This was Thad's first quartet recording in 30 years (recorded in Copenhagen, October 1984). The newly remastered 24 bit/96 kHz 180g vinyl edition draws a vivid, intimate portrait of Jones the storyteller: reflective, free, and full of tunes. The session finds Jones in inspired form-'the way his notes fall,' as Mel Lewis once said, is fully on display-mixing relaxed authority, sly humor, and a deeply personal sense of swing. Joined by pianist Ole Kock Hansen, bassist Jesper Lundgaard, and drummer Ed Thigpen, Jones moves effortlessly from buoyant blues to spacious ballads, stretching himself with the same curiosity that marked his early Mingus collaborations '... Jones' harmonically advanced style and crisp sharp sound... very much intact on this relaxed quartet date... His improvisations are thoughtful... easily recommended.' (Down Beat)

Storyville Records proudly presents the previously unreleased live double album, Michel Petrucciani Trio, Jazz Club Montmartre - CPH 1988, by the legendary French pianist Michel Petrucciani, due for release on November 15, 2024. Recorded during a memorable performance at Copenhagen's Jazzhus Montmartre on July 3rd, 1988, the album captures Petrucciani in the company of two jazz icons, Gary Peacock on bass and Roy Haynes on drums. While the trio only came together for a brief European tour in the summer of 1988, the chemistry they shared on stage was undeniable. The trio, propelled by a studio session the previous autumn, radiates synergy, as they explore six of Michel's original compositions with a sense of grace and spontaneity. On this recording, listeners will rediscover Petrucciani's unique lyrical universe, as well as his reverence for modern jazz icons, paying tribute to Bill Evans, Keith Jarrett, and Paul Bley with special arrangements of classics like Someday My Prince Will Come, Mr. K.J. and Turnaround. From the explosive energy of She Did It Again to the introspective beauty of Autumn Leaves, Petrucciani's virtuosic playing reveals a rare sense of urgency, joy, and an unrelenting passion for life. As Gary Peacock and Roy Haynes were at the height of their careers-Haynes playing with Chick Corea and Peacock with Keith Jarrett-they were drawn to Petrucciani, recognizing the greatness of his artistry. Together, they formed a trio, bound by a shared intuition and respect for one another, and this performance at Montmartre is a testament to that fleeting moment of jazz brilliance. This concert took place at the midpoint of Petrucciani's meteoric career, 12 years after his Paris debut and 11 years before his untimely passing. Despite the physical challenges posed by glass bone disease (osteogenesis imperfecta), Petrucciani's fierce determination, boundless love for music, and infectious laughter inspired all who knew him. Now, more than 35 years after that magical evening in Copenhagen, we invite listeners to close their eyes and step back in time. July 3rd, 1988... it could have been last night, or it could be tomorrow morning!

For the past six years, flutist Alex Hamburger and pianist Jose Luiz Martins have been the heartbeat of each others' musical worlds. Now, with their debut record as a duo, the husband and wife create a shared world, offering listeners a highly personal, textural immersion into the sonic catalog of their journey. The two musical prodigies were originally on divergent paths when they first met in 2018 during coincidental time abroad in Basel, Switzerland. Hamburger, originally from the Washington, D.C. metro area, was living previously in New York City, while Martins was studying for a masters in Basel after leaving his hometown of Sao Paulo, Brazil. Their first shared notes snapped their lives together, ushering in an instant connection and understanding, both about the music that influenced them and the music they wished to put in the world. Together, the partners found a deeply rooted shared commitment to using space, listening, and empathetic reaction to dive into the unknown and return with beauty and compassion. Now living together in Hyattsville, Md., Hamburger and Martins recorded Catalog of Dreams in 2025 as a response to the diverse range of musical traditions that shaped them, both as individuals and as a pair. Six of the album's eight songs are unique reinterpretations of traditional and modern classics from composers such as Herb Ellis, Wayne Shorter, and Thundercat. The duo then flexes the intimate dynamics and texture of piano, voice, flute, and electronic keyboards to reinterpret the compositions into vehicles for new dreams and possibilities. Of course, the most noticeable influence on the album is that of Brazilian music, which native Paulistano Martins brought to the record (and the relationship) from the very beginning. Three tunes make this connection explicit: Gilberto Gil's classic 'Ladeira da Preguica' (made famous by Elis Regina), Airto Moreira's eternally groovy 'Tombo in 7/4,' and the modern Brazilian heavyweight Luisa Lacerda's 'Poente,' a familial celebration that features lyrics by her father Andre Lacerda. However, Catalog of Dreams is steeped in Brasiliana beyond these three tunes, with traces of groove, melody, and harmonic complexity saturating the duo's playing and arrangements throughout. The record's two original compositions, both composed by Hamburger with production assistance from Martins, achieve this with a tender nuance. By taking these Brazilian influences back into her own roots of great lyrical musical traditions (the Great American Songbook, Black American Music, and folk), Hamburger finds a way to explore themes of loss, trauma, injustice and the human experience with nuance and care. Although both Hamburger and Martins are prolific on their own, each with their own critically acclaimed body of work as bandleaders, this is their first full length album with just the two of them. With this debut of eight songs in just under thirty minutes, the partners draw us into their journey, into their catalog, and into their dreams.

Eternal Child, Avishai Cohen's new album, will be released in May and showcases the full depth of his artistry as a bassist and composer. Years later, he reunites with drummer Jeff Ballard on selected tracks, recalling their strong musical connection forged alongside Chick Corea. Recorded at the renowned Studio de Meudon in Paris, Eternal Child stands as a major new chapter in Cohen's work.

Two of the most distinctive voices on the contemporary Danish jazz scene, chromatic harmonica player Mathias Heise and guitarist Pelle von Bulow, join forces on Repertoire, a duo album built on interplay, shared intuition, and a carefully selected body of songs spanning jazz standards, soul, pop, and contemporary material. The album will be released on August 7, 2026 via Storyville Records. At it's core, Repertoire reflects the long-standing musical familiarity between Heise and von Bulow. Working as equals in a stripped-down duo setting, the two musicians treat each piece as a flexible framework for improvisation rather than a fixed arrangement. The music unfolds in real time through dialogue, contrast, and a finely tuned sense of balance between structure and freedom. The repertoire draws from a wide range of jazz and pop standards. It includes So Tender by Keith Jarrett, Besame Mucho by Consuelo Velazquez, and Beatrice by Sam Rivers. From the pop and soul canon, the album features Overjoyed by Stevie Wonder, Rock with You by Rod Temperton, popularized by Michael Jackson, and One Day I'll Fly Away, alongside Angel Zoo by Danish band Phlake. Further repertoire threads include Velas, written by the great Brazilian composer and singer Ivan Lins. Always and Forever is part of the broader soul repertoire associated with Heatwave. The album closes with Bluesette, one of the defining compositions in the jazz harmonica tradition, also by Toots Thielemans, and a natural reference point for Heise's instrument. Mathias Heise has established himself internationally as one of the most original voices on the chromatic harmonica. In 2013, he won the Chromatic Harmonica World Championship, followed by the Danish Crown Prince Couple's Stardust Award in 2016 and the Ben Webster Prize in 2017. He was the first musician admitted to the Rhythmic Music Conservatory with chromatic harmonica as his main instrument, and has since released a series of critically acclaimed albums, including his 2023 Storyville quintet album, Mouth Games. Heise is a true virtuoso with a harmonic curiosity and stylistic openness. He can play anything! Guitarist Pelle von Bulow is an established figure on the Danish jazz scene. He is one of a generation of guitarists who are inspired by the legacy of Doug Raney, who lived in Copenhagen. Pelle von Bulow is also a virtuoso and has, among others, incorporated influences from legends such as George Benson as well as the Brazilian jazz guitar tradition. Coming from a family with a strong jazz tradition, Pelle von Bulow is the son of acclaimed alto saxophonist Christina von Bulow, and represents a younger generation of Danish jazz guitarists rooted in both tradition and contemporary expression. Repertoire shows how contemporary jazz continues to evolve through a new generation of musicians.

The entire project is both spare and impossibly lush. While this may sound like a contradiction, it has everything to do with the virtuosic musicianship of pianist Art Hirahara and Jim Tomlinson, as well as Stacey's elegant and unadorned vocal approach. The opening track, Lucky To Be Me, works as an invitation to the theme of the album and uses the open space between vocal phrases to draw us in. And, while all of the tracks are worth an unadulterated listen, I'm going to list a few of my favorites, starting with La Javanaise, which is delivered with an almost offhanded musical precision and sung in Stacey's pitch-perfect French. The surprising warmth of Stacey's lower vocal range makes A Time For Love the intimate ballad it was meant to be. Jim's tenor sax does the same, so that his playing is the ideal complement to Stacey's voice. The entire album is a joy to listen to both musically and sonically. It was lovingly recorded and mixed by Jim (yet another of his talents) at their home studio in Virginia. - Cliff Goldmacher Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy® nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold, and Gold-selling albums that have reached a series of chart-topping positions. Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London, where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson. Kent's musical journey began with childhood piano lessons. A keen ear and true voice led her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum-selling, Grammy®-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career. Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband, in collaboration with the Nobel Prize-winning author Kazuo Ishiguro, with whom they have worked since 2006. She has also recorded with Brazilian legends Marcos Valle, Roberto Menescal, and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène. Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as-yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love, set to appear on April 3rd, 2026.

This June 19, Danish pianist Ole Matthiessen, one of the most inventive voices in Scandinavian jazz, celebrates his 80th birthday with the release of Subcurrents on Storyville Records-a remarkable compilation spanning more than five decades of musical exploration. The album brings together seven performances from 1968 to 2025, offering a rare glimpse into some alternative, improvisational currents that have defined Matthiessen's career. From the early energy of the Poul Ehlers Quartet in 1968, featuring the rare collaboration with free-jazz drummer Bo de Richelieu and a young Jesper Zeuthen, to his contributions in Erling Kroner's Quintet in 1970, Matthiessen's pianism has always blended melodic sensitivity with a restless curiosity. The album also includes the electrifying Turkish-inspired jazz of Atilla Engin Group in 1981, where Matthiessen fuses complex rhythms with the swinging spirit of jazz, as well as boundary-pushing improvisations with Global Units in 2011, incorporating electronics and experimental textures. Later recordings, such as Testmann Jazz in 2023, highlight Matthiessen's lyrical side, paying homage to Ben Webster while demonstrating his enduring command of ensemble interplay. Framing the album are two solo improvisations, "Subcurrent 1" and "Subcurrent 2," recorded in 2025 at The Village Studio, capturing the pianist at his most spontaneous-exploring sound, touch, and flow in real time with no rehearsals or retakes. Subcurrents is more than a retrospective; it is a journey through the subtle undercurrents of jazz and the threads connecting tradition, experimentation, and collaboration across decades. Produced, remastered, and annotated by Matthiessen himself, the album presents both longtime fans and new listeners with an intimate portrait of a musician whose adventurous spirit remains undiminished at 80.

A leading drummer and producer, Nate Smith seamlessly blends jazz, funk, R&B, and hip-hop, driven by a groove that is both razor-sharp and deeply musical. LIVE-ACTION quickly made an impact, earning two GRAMMY® Award nominations in the categories of Best Alternative Jazz Album and Best Arrangement, Instruments & Vocals for the track featuring säje. With LIVE-ACTION Deluxe, Smith expands on the album's live energy, staying true to his organic, hands-on approach while once again collaborating with top voices in contemporary jazz, including Braxton Cook. Nate Smith envisioned LIVE-ACTION as a producer-driven project inspired by the legacy of Quincy Jones. "As a producer, I wanted to activate all the relationships I've built over the past five or six years, especially since the pandemic, many of them through social media," he explains. The album features an all-star cast of collaborators including Josh Johnson and Marquis Hill, rapper JSWISS, guitarists Charlie Hunter and Lionel Loueke, bassists Michael League, Ben Williams, and CARRTOONS, keyboardists DJ Harrison and Keifer, the vocal group säje, singer Jermaine Holmes, and Lalah Hathaway. Hathaway delivers a standout performance on a bold reimagining of the Pointer Sisters' 1984 classic Automatic, fully reharmonized and reworked alongside Smith. While LIVE-ACTION is highly collaborative, Smith maintains a strong sense of cohesion through intentional creative limitations. "I wanted the record to feel like it was recorded to tape in my bedroom. I limited myself on purpose, using analog gear and the same instruments throughout. I did just two or three takes per part, with no copy and paste or studio tricks. Everything you hear was played live. Nothing is programmed or sequenced." With the release of LIVE-ACTION Deluxe, Nate Smith builds on that momentum, introducing new collaborations and previously unreleased performances while celebrating the success of the original album, which earned two GRAMMY® Award nominations.

Storyville Records proudly presents the previously unreleased live double album, Michel Petrucciani Trio - Jazz Club Montmartre - CPH 1988, by the legendary French pianist Michel Petrucciani. Recorded during a memorable performance at Copenhagen's Jazzhus Montmartre on July 3rd, 1988, the album captures Petrucciani in the company of two jazz icons, Gary Peacock on bass and Roy Haynes on drums. While the trio only came together for a brief European tour in the summer of 1988, the chemistry they shared on stage was undeniable. The trio, propelled by a studio session the previous autumn, radiates synergy, as they explore six of Michel's original compositions with a sense of grace and spontaneity. On this recording, listeners will rediscover Petrucciani's unique lyrical universe, as well as his reverence for modern jazz icons, paying tribute to Bill Evans, Keith Jarrett, and Paul Bley with special arrangements of classics like Someday My Prince Will Come, Mr. K.J. and Turnaround. From the explosive energy of She Did It Again to the introspective beauty of Autumn Leaves, Petrucciani's virtuosic playing reveals a rare sense of urgency, joy, and an unrelenting passion for life. As Gary Peacock and Roy Haynes were at the height of their careers-Haynes playing with Chick Corea and Peacock with Keith Jarrett-they were drawn to Petrucciani, recognizing the greatness of his artistry. Together, they formed a trio, bound by a shared intuition and respect for one another, and this performance at Montmartre is a testament to that fleeting moment of jazz brilliance. This concert took place at the midpoint of Petrucciani's meteoric career, 12 years after his Paris debut and 11 years before his untimely passing. Despite the physical challenges posed by glass bone disease (osteogenesis imperfecta), Petrucciani's fierce determination, boundless love for music, and infectious laughter inspired all who knew him. Now, more than 35 years after that magical evening in Copenhagen, we invite listeners to close their eyes and step back in time. July 3rd, 1988.it could have been last night, or it could be tomorrow morning! A monument over one of the most creative and joyful pianists in jazz ever!

Cecile Licad plays piano music by Scott Joplin Scott Joplin (1868-1917), along with James Scott and Joseph Lamb, forms what are often called the "three B's" of classic ragtime. While hundreds of ragtime composers were active at the turn of the twentieth century-many of them itinerant African American pianists performing largely unnotated rags throughout the Missouri Valley states-it was Joplin who brought the genre into a fully realized, notated art form. These pianists, almost all male and rarely formally trained, were brilliant improvisers who earned their livelihoods in the so-called "tenderloin districts." Often referred to as "professors," they formed a vibrant musical network that fueled the ragtime craze from roughly 1890 until World War I. Joplin himself stood apart. Born in Texarkana shortly after the Civil War to a formerly enslaved father and a freeborn mother from Kentucky, he showed early musical promise and received formal instruction from a Czech-Jewish immigrant teacher. Joplin's respect for disciplined musical training-and his sense of obligation to the genre-shaped the course of ragtime history.

Avishai Cohen, one of the most innovative bassists and composers today, will release Gently Disturbed, his first release with his newly configured trio, from May on his own Razdaz Recordz label. While to outward appearances the trio would seem to be the standard piano-bass-drum formula, the music they've created on Gently Disturbed is far from the standard jazz trio repertoire. Featuring nine original compositions (written either by Cohen or by the trio collaboratively), including one traditional Israeli song, Gently Disturbed is an amalgamation of melody and groove, complexity and simplicity that nearly redefines the concept of jazz. With the departure of long-time pianist Sam Barsh, Cohen has slightly reconfigured his trio with the addition of Israeli pianist Shai Maestro. Since Cohen is an accomplished pianist in his own right and has performed on bass with such acclaimed jazz pianists as Danilo Perez, Brad Mehldau and of course Chick Corea, and because the previous keyboard players in his bands (Sam Barsh and Jason Lindner) have been exceptional, it is even more striking to note that Maestro is just 21 years old. Rounding out the trio is the brilliant Mark Guiliana on drums, who has been playing and touring with Cohen since 2003 and who Modern Drummer Readers Poll 2007 cited as "one of the best up-and-coming stars of today's drumming scene." Cohen's releases on Razdaz, which he founded with manager Ray Jefford in 2003, have consistently earned critical approbation, beginning with 2003's Lyla, followed by at Home in 2005, and through to 2006's critically acclaimed Continuo then followed by last year's Double Live CD/DVD release, As Is... Live at the Blue Note (Razdaz / Half Note).

“...outstanding among [Chet’s] later recordings....This is a record to give a listener fresh heart...one feels there cannot be much wrong with jazz while it is producing records like this.” (Max Harrison, International Jazz Journal) 180g Audiophile Vinyl

Horace Parlan’s Glad I Found You is his second quintet date for SteepleChase which captures a rare meeting of inspired musicians at a peak moment, recorded in Copenhagen with Thad Jones — making a vibrant late career comeback — and the always inventive Eddie Harris. Parlan leads the quintet full of warmth, swing and spontaneous interplay. The album blends Parlan’s own tunes, soulful obscurities, and modern jazz classics like “Afternoon in Paris,” all delivered with the rhythmic looseness and deep blues feeling that defined his style. This new 24bit/96kHz remaster brings fresh clarity to one of Parlan’s most spirited SteepleChase sessions, revealing the nuance and energy of a group of masters enjoying every moment together. “...it’s another fine addition to Parlan’s discography.” (Jazz Journal)

A halo is something like an aura. Cologne-based singer Anette Von Eichel certainly doesn't want to put a halo on her new album, but a halo is also a luminous phenomenon, such as a moonlit ring or a wreath of light, as often seen in nature and everyday life, and which can be interpreted as a revelation of whatever nature. This title couldn't be more fitting for Anette Von Eichel's collection of songs on her new album, and in more ways than one. All of these songs share a nocturnal quality, in which light emerges from the darkness. In the sequence of her songs, we experience a dreamlike journey of a resurrection of the morning twilight from the night.   In a metaphorical sense, it makes a huge difference whether you listen to the album for the first, second, or third time, because an impressive process of transcendence takes place. What at first simply sounds like a series of clearly defined songs in their respective forms gradually transforms into a kind of vocal and musical mass of light, which acts as a parallel phenomenon to reality. This spectral shift culminates in a halo of light that dissolves all forms and contours, a concept perfectly captured by the album title. "When I write a song, it's a conscious process, but the subconscious naturally plays a major role," Anette Von Eichel explains, describing this transformation from her perspective. "With this album in particular, I hope to give people the opportunity to take a step back from their everyday lives and experience a similar transformation while listening."   Listening to the album, regardless of the lyrics, inevitably evokes the feeling that someone is telling a story. From the osmosis of voice and music emerges a flow that inescapably draws the ear into it's vortex. Pianist Sebastian Sternal, bassist Henning Sieverts, and drummer Jonas Burgwinkel become the material and metaphysical vehicles of these stories, which Anette Von Eichel brings to the stage of her song theater with breathtaking versatility. She starts with the lyrics when writing and tries to discover the sound hidden behind the words. "The word enters into a symbiosis with the interaction of our band," the composer explains, describing this phenomenon of the text dissolving into sound. The songs possess a great flexibility, expressed through nuanced improvisation, which allows the songs to grow not only with each performance but, as already mentioned, with each listen.   "Halo" is the third album Anette Von Eichel has recorded with Sternal, Sieverts, and Burgwinkel in six years. The ease of their interplay, the constant negotiation between collective density and individual detachment, and the spontaneous use of open sections reach a new peak here. Eichel's signature style, unmistakable in it's trinity of classic jazz vocals a la Carmen McRae and Betty Carter, singer-songwriter influences in the tradition of Joni Mitchell, and the timbre of French chansons, sounds like standards that have been in the air for decades. They may feature strong melodies and complex rhythms, but the song as a whole always takes center stage, with which the individual elements must harmonize.   There aren't many singers whose voices, both spoken and sung, exhibit such a striking difference as Anette Von Eichel's. When she sings, she doesn't simply slip into a different persona; she confronts hidden inner worlds that couldn't manifest in her everyday use of her voice. This creates an immediate magic, where the sound of her voice is inextricably linked to the specific emotions of the song. "I'm interested in drawing out all the emotions hidden within my voice," says Anette Von Eichel. "When I sing, I delve much deeper into myself and can uncover far more nuances." Which brings us back to the interplay of light and shadow. She slips into roles, often shifting perspectives even within a single song, employing unconventional vocal techniques like sighs or creaks, and using breath as a creative element.   "Halo" is built from light, and yet this album, like few others, creates a pressure equalization that is transmitted from the four musicians to the listener in an almost hypnotic way. The more one embarks on this journey into the twilight and the nuances of human experience, the more liberating the effect. "Halo" is a passionate declaration of the poetic clarity of ambiguity. Let us refrain at this point from pathos-laden phrases like healing, spirituality, or the pulse of life, and instead take the album objectively and soberly for what it is: precisely the right statement for our time. by Wolf Kampmann