This is a relaxed set that nonetheless bristles with optimism and exploratory drive, toughened by challenging melody lines and taut horn blends that sometimes recall the Jazz Messengers-showing the influence, perhaps, of the late pianist and former Messenger Mulgrew Miller, whom trumpeter/flugelhornist Duane Eubanks cites as a mentor and role model.

YOU ARE A CREATURE

BELLEVILLE PROJECT

SOUND SHAPES & STRUCTURES

IN THE KEY OF TANGO

VENEZUELAN SUITE

SO BRAZILIAN ESSENCE

SKY / LIFT

SOTARENO

NINE STORIES

Blending his unique fusion of Classical, acoustic Jazz, and Middle Eastern music with the talents of virtuoso Tel Aviv pianist Nitai Hershkovits, Duende is a rare collaborative effort from Israeli bassist Avishai Cohen. Recorded in Sweden over just three days, the follow-up to 2011's Seven Seas features cover versions of John Coltrane's "Central Park West," Thelonious Monk's "Criss Cross," and Cole Porter's "All of You" alongside several new compositions including "Signature," "Soof," and "Ann's Tune."

Grammy award winning pianist and keyboard player Jim Beard has accumulated a staggering array of credits including composing for John McLaughlin and Michael Brecker, and performing on world tours with Wayne Shorter, Pat Metheny and Steely Dan. 'Show of Hands', is unique amongst his work, however - a captivating solo piano recording. As can be expected from Beard, the album does not pigeonhole itself into one style and features eight brand new creations, two full length songs and six short Haikus. Also included are solo versions of compositions featured on other recordings together with an eighteenth century society piece, a Wayne Shorter classic (Weather Report's "Face on the Barroom Floor") and a few standards.

ADOPTED HIGHWAY

TRIO LIVE

MARCH SUBLIME

INFINITE POSSIBILITY

BIG STUFF

IN THIS LIFE

There is much to gain in collaborations between musicians from different generations. The younger receives an education, lessons in history, technique and taste that only experience can provide, while the older can utilize the youthful energy and drive, challenging themselves further. The legendary pianist Ran Blake has long been known as a unique and eloquent stylist, his style ranging from the evocative to romantic to avant-garde. He is also known as a tremendous and supportive accompanist to vocalists. Sara Serpa is a vocalist of a much younger generation, who approaches the songs of the American songbook, music from her native Portugal, and her own original material with equal expertise. Taken from live recordings from Jazz at the Kitano made during two residencies in 2013 and 2014, their new recording Kitano Noir displays the duo's development since their first recording in 2010. They present a wide-ranging program of pieces, from original Blake compositions to standards to more eclectic song forms from Europe.

HARRY WHO

HUSH POINT

MUKASHI-ONCE UPON A TIME

SPIRIT OF THE GARDEN

Denny Zeitlin has recorded over thirty critically acclaimed albums; twice won first place in the Down Beat International Jazz Critics Poll; written original music for Sesame Street; and appeared on network TV, including repeats on the Tonight Show, and CBS Sunday Morning. Zeitlin's lecture-demonstration "Unlocking the Creative Impulse: The Psychology of Improvisation" has been presented across the U.S. and in Europe. He has concertized throughout the U.S., Canada, Japan, and Europe, at colleges, jazz clubs, and major festivals; appearing with jazz greats such as Joe Henderson, Herbie Hancock, Pat Metheny, Tony Williams, Bobby Hutcherson, John Patitucci, John Abercrombie, Marian McPartland, Charlie Haden, David Grisman, Kronos Quartet, Paul Winter, David Friesen, Matt Wilson, Buster Williams and many others.

Paris-born, New York City based pianist Jean-Michel Pilc explores this concept in depth on his new solo release, What Is This Thing Called? Under the most optimal conditions, Pilc recorded what amounts to unique themes and variations based on the much-revered Cole Porter chestnut, "What Is This Thing Called Love?" Instead of creating a tedious exercise in rehashing similar idea after similar idea, the recording presents a tremendous portrait of the vast musical language Pilc has developed over his three decades as a professional jazz musician.