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”)

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Two Not One documents a late 1975 series of Denmark performances by saxophonists Warne Marsh and Lee Konitz. Performing with a crack European rhythm section, this 4-CD set features over five hours of music, arranged in chronological order. “Both men were and are masters of the art of never repeating themselves and a set of this scope really brings the point home.” - All About Jazz

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A previously unreleased album that world-famous Jazz violinist Svend Asmussen considers one of his best recordings ever, now available on the occasion of his 99th birthday! In a tiny club in Paris with 26 guests, he played a set with three musicians he had never played with before. Just as they were about to play, a man casually told them the concert would be broadcast live on French radio, and this performance turned into one of his favorites due to the atmosphere & spontaneity of the live recording!

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European jazz at it's best, recorded at the legendary Jazzhus Montmartre to celebrate Jesper Lundgaard's 60th birthday!

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The recordings on this release are chosen from three terrific evenings at Montmartre in October 2015, during Kenny’s second visit to Copenhagen. “Those of us who attended the concerts witnessed the great affection that developed between Kenny and the audience; the public simply wouldn’t let him leave the stage,” writes Christian Brorsen, music director at Jazzhus Montmartre. A smiling Jacob Christoffersen distributed warmth from behind the piano, and bassist Jesper Bodilsen and Zoltan Csorsz easily join the magnificent musical union. Brorsen also writes ”Kenny has a lot of heart and exudes a kind of warmth rarely encountered. Along with possessing perfect pitch and presiding over a repertoire that seems practically endless, he is a sensational singer—and a greater entertainer than he realizes!” Kenny Washington is an authentic virtuoso who exposes new facets of himself every time he performs. The quintet extracts new warmth from classics such as “Do You Know What It Means to Miss Orleans” an excel on the title track “Moanin’”. Kenny’s talent puts him among the world’s best jazz vocalists—at the very top of the list!

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During the year of 1966 Duke Ellington was touring Europe. Duke Ellington’s sacred concerts had many incarnations, more than the three on the commercial records: The First (1965), The Second (1968) and The Third (1973). At concerts Ellington often made changes in the proceedings – left out some numbers, and played others, and altered the succession of numbers played. This was evidenced at Coventry Cathedral on a winter’s Monday, February 21st 1966. The Coventry concert had its centerpiece in “In The Beginning God”, but apart from that it was no ordinary sacred concert: Two numbers, “Come Sunday” and “Tell Me It’s The Truth” would have a vocal on the issued record and in other performances of A Concert of Sacred Music the previous year, but were purely instrumental here – and the two numbers following “In The Beginning God” had no connection to a religious theme. With him on that day in Coventry Cathedral were some highly professional British vocalists, The Cliff Adams Singers and the baritone singer George Webb, giving the performance a special quality, which the band acknowledged by playing on the top of their game. The concert was filmed for TV, and part of it was telecast. Two numbers were regrettably omitted from the TV production, but are on this album, a powerful version of “Light (Montage)” from Black, Brown And Beige, and the above-mentioned “Come Sunday.” The concert also includes a premiere and only performance of a new Ellington composition “Come Easter,” a premiere of another new Ellington piece “West Indian Pancake,” and one of the first performances of a piece which would become an important part of many concerts during the following years, “La Plus Belle Africaine.”

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