Classical Music

LOOM is the second album by KALI Trio and shows the consequent development of the original style of the working band. The three Swiss musicians Nicolas Stocker (drums), Urs Müller (e-guitar) und Raphael Loher (piano) weave the various threads of their stylistic background together with relish and fresh skillfulness on their musical loom. The music, created jointly as an organism, is continuously charged in the four tracks and in the overall dramaturgy of the album. It unfolds its rhythmic pull and its mysterious atmosphere in a subtle and inexorable manner. LOOM consists of only four compositions, but clocks in at a few seconds short of the 45 minute mark! It's a beast in scope, but airy (literally) in feel, hence easy to inhale. Each piece plays like the equivalent of a time-lapse of a looming cloud formation a liquid progression of shifting shapes, changing density as well as shadow and light play. By the virtue of working with subtle iterations of form and using extended swaths of time as the equivalent of a large-scale canvas, the material evokes the mechanics of trance music. The creative use of sound design and general choice of spartan aesthetics, albeit executed using acoustic instruments, emphasize styles club-inclined and tasteful. The overall effect is cinematic and mesmeric; a sonic documentation of a daydream unraveling.

This new release is the first in a series of three presenting Jazzpar winners, a prestigious Danish jazz award. Tommy Flanagan grew up in Detroit, initially influenced by such pianists as Art Tatum, Teddy Wilson, and Nat King Cole, and then by the newer bebop musicians. Within months of moving to New York in 1956, he had recorded with Miles Davis and on Sonny Rollins' landmark Saxophone Colossus. Recordings under various leaders, including the historically important Giant Steps of John Coltrane, and The Incredible Jazz Guitar of Wes Montgomery, continued well into 1962, when he became vocalist Ella Fitzgerald's full-time accompanist. He worked with Fitzgerald for three years until 1965, and then in 1968 returned to be her pianist and musical director, this time for a decade. Tommy Flanagan won the Jazzpar award in 1993.

This release is the second in a series of three albums presenting Jazzpar winners, a prestigious Danish jazz award. Roy Haynes is a living legend and is considered one of the most influential drummers in jazz ever. He has played with Charlie Parker, John Coltrane, Miles Davis, Chick Corea and Michel Petrucciani. Just about all of the greatest in jazz. Roy Haynes is known for his very personal style, as a drummer and in fashion being both elegant and cutting edge in everything he does. A true master and artist in his own right. This all-star group featuring Niels-Henning Ørsted Pedersen plays both beautiful ballads and jazz in honor of Roy Haynes great achievements as drummer, bandleader and African American jazz icon.

Saxophonist Sigurdur Flosason writes: Music is the universal language of mankind is a frequently cited quote by the 19th century American poet Henry Wadsworth Longfellow. Well, if thats the case, jazz is certainly my favorite dialect. The spontaneity and collaborative nature of jazz makes it ideal for swiftly building bridges between groups of musicians and audiences alike. Nothing is as musically exciting and refreshing as a newly forged relationship of outstanding jazz performers and composers, especially when brought together in the close comfort and proximity of ones living room. This was to be the beginning of what has now developed into a well-brewed and mature unity of musicians that have since then performed at jazz festivals in both Luxembourg and Reykjavik and have now recently recorded this outstanding album, featuring compositions from all four members. The compositions on this album provide a good framework for the musical dialogue. Ranging from melodic ballads such as Flosasons Father of Light and Reis Thank you letter, the folkish melody and melancholy of Demuths Dante and Reis Tundra, to Flosasons more calculated and intellectually infused Counting sheep and Forty-nine, over to Herrs mystic and haunting Moonglow.

Classical Music

With an original line-up of trombone, electric guitar, double bass and drums, NABOU is a breath of fresh air on the Belgian jazz scene. On the trombone, bandleader and composer Nabou Claerhout is looking for a sound all her own: by means of all sorts of effects, she creates a dreamy musical framework with a strong atmospheric and melancholic resonance. The group’s debut EP Hubert – for which Claerhout was nominated for the Sabam For Culture ‘Jazz Composer 2019’ prize – was already a fine demonstration of its unique sound, which is now further refined and specified on its first full album You Know. Lush and intimate sounds alternate with strongly rhythmically based compositions, while groovy bass riffs from Trui Amerlinck, Mathias Vercammen’s elaborate drum patterns and the modern, virtuoso guitar playing of Roeland Celis play their part in this musical adventure full of highlights – all created in combination with Claerhout’s distinctive trombone playing ‘that sings, cries, pulsates, narrates and knows how to make many hearts weak through well-constructed contemporary pieces’.

Classical Music

Bassist Steve LaSpina has been contributing his phenomenal musicianship both as performer and composer to this label since the late 90s. Since his debut album SCCD 31313 New Horizon SteepleChase has been LaSpina’s main outlet for his marvelous compositions. This is his 12th leader album, which explores some of his old tunes as well as new works, giving us a rare opportunity of experiencing how original compositions in jazz develop after decades of live performance on stage. "(SCCD 31376 When I'm Alone) is a thoughtful and invigorating set ... LaSpina refuses to hog the limelight and turns in an exemplary team performance. His only apparent indulgence - to feature seven of his own tunes - turn out to be one of the session's key strengths. This intelligent and inventive session is warmly recommended." (Richard Palmer - Jazz Journal International) “Bassist Steve LaSpina is a marvellously gifted player, a superb accompanist and a lyrically inventive soloist. … As demonstrated here, LaSpina is also a composer and leader willing to focus on nuance and subtlety - dare one say, musicality! - rather than displays of in-your-face technical bravado …” (Chuck Berg - JazzTimes)

ON THE SUNNY SIDE OF THE STREE

Distinguished pianist/composer Stanley Cowell (b. 1941 Toledo, Ohio) embarked on his jazz career in the mid-60s. Ensuing his rapid raise to the prominence Stanley Cowell made indelible contribution to jazz over the next 60 years. Even though he’s been dedicating more time in educating younger generation and composing for classically oriented larger ensembles since the 80’s, he stayed close to jazz releasing 15 albums for SteepleChase. His latest album here from October 2019 finds this stately Professor Emeritus cutting loose at the famed Keystone Korner in Baltimore with his handpicked two-horn quintet plus a guest vocalist Sunny Cowell. “The Cowell album portrays a fascinating piano stylist with many ingredients under his fingers. The programming, like Cowell’s lines and contrary motion, flows beautifully…The set confirms Cowell as a melodic and harmonic delight and a clever dealer of rhythmic wild cards. It’s good to have this update.” (Kirk Silsbee – DownBeat **** SCCD 31809 Reminiscent)

Matthew Shipp / Evan Parker - "Leonine Aspects" - Evan Parker (tenor & soprano saxophones), Matthew Shipp (piano)

Noah Preminger the saxophonist in question here has despite his relative young age (34) checked off an impressive to-do-list for an aspiring artist: releasing first debut album at the age 20, graduating from the prestigious New England Conservatory of Music, then releasing more than a dozen (14 to be precise) of highly acclaimed leader albums and being on the top ranking of Downbeat’s critics’ and readers’ poll list since 2017. In February of 2020, right before everything shut down Preminger came into the studios to record this intriguing debut album with his congenial working ensemble. You will not find the word “contemptment” in your dictionary but you might agree that this socially and politically aware artist sums up the sentiment of the time that we are living in. "Mr. Preminger designs a different kind of sound for each note, an individual destiny and story." (The New York Times) “Intuitive leader… old soul... Virtuosic... Creativity and passion are extremely high.” (Downbeat)

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)

A Day or Two

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)

Hard charging, high octane stuff that never let's you down, or even comes up for air, this is a must for big band fans... Killer stuff. - Midwest Record. Saxophonist, composer, arranger Greg Yasinitsky created his YAZZ Band project as a laboratory for his contemporary, original big band compositions. Made up of mostly Pacific Northwest-based improvisors and ensemble veterans, "New Normal" reflects the times when gathering as a group is not an option. Recorded ensemble tracks from before COVID-19 emerged were combined with recordings done in isolation from faraway outposts including Los Angeles, Baton Rouge, and Italy, allowing for some dynamic new musical options to be explored. From the blazing "G.P." and "Diva," to the heartfelt "Song for Laura," or the funk of "Blues for Brecker," Yasinitsky's YAZZ Band offers a wide ranging set of hard-swinging and joyful original music.

What comes out when Norway and Cuba team up musically: earthy bass, filigree rhythms, melancholy, charm, humor - and an almost unbelievable lightness. Badische-Zeitung (Germany). Norwegian vocalist/composer Grete Skarpeid's "Beyond Other Stories" is contemporary word painting at it's finest, with rhythmic contours beautifully enhanced by a quartet of master musicians, led by Cuban pianist Aru�n Ortiz. Skarpeid draws us into the interior landscape of life with an eerily beautiful sense of freedom in her voice, mixing melancholy and joy, vulnerability and splendor. Ortiz's beautifully crafted arrangements of variety and sensuousness, are captured in every caressed phrase by Skarpeid. The music shines from the ethereal magnificence of "Singing Again," which sets to music a poem by the noted Norwegian poet Olav H. Hauge, through the feelings of spiritual loss evoked in "Adam and Eve," to the existential weightlessness of "Flying High." The unlikely musical partnership of Grete and Aru�n began by happenstance when Ortiz passed through Grete's remote hometown while touring Norway with Don Byron. Grete shared some of her original songs with Ortiz, who instantly fell in love with her music and encouraged her to write more, later collaborating in New York on Skarpeid's first album, "My Songs" in 2016. "Skarpeid fills us with so much joy as she reveals herself to be an artist of the first order..." - Raul da Gama.

Five brilliant and focused musicians who against odds imposed by history and impossibility, have risen to the occasion to create a recording that provides depth, joy and emotional outreach in times of isolation and hardship. Developing their musical voices on the Seattle jazz scene, bassist Ben Feldman and saxophonist Santosh Sharma moved to New York for school and opportunity, while drummer Xavier Lecouturier, pianist Dylan Hayes and guitarist Martin Budde became invaluable creatives in Northwest music circles. Sidelined from various tours in 2020, the five ended up gathering in Alaska, learning to fly planes, composing, playing, and discovering that as a quintet, the joy of music and creation was rekindled, the weight of the moment lifted. Setting up in an airplane hangar, the quintet live-streamed performances through the summer and with their new compositions in tow, self-recorded and produced "Second Wave." The commonality of language acquired through hours of musical conversation between this group of friends quickly rose to fruition, producing sublime results for the listener.

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)

An ECM artist for his entire musical career, US guitarist Ralph Towner has built up a unique body of work in his recordings for the label. Central to his oeuvre are his solo albums, the first of which, Diary, was issued 50 years ago. At First Light extends this great tradition, drawing inspiration from a broad palette of music. In addition to his own pieces, Towner also plays Hoagy Carmichael's "Little Old Lady", Jule Styne's "Make Someone Happy" and the traditional tune "Danny Boy."

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)

(Mike & Randy Brecker) comprised a blistering front line. Galper was in aggressive form, playing with an energy reminiscent of McCoy Tyner, a spirit of embellishment reminiscent of Art Tatum and a harmonic knowledge reminiscent of Bill Evans. Dockery and Moses formed a heart-pounding tandem. - JAZZTIMES. Captured during a pivotal, trailblazing period of his five decade career, pianist Hal Galper had come off the road with the Cannonball Adderley Quintet looking to establish his new working band. Pulling in Michael & Randy Brecker, whom he had recorded & worked with in the early '70s, along with bassist Wayne Dockery and drummer Bob Moses, Galper set up Sunday matinees at NY's Sweet Basil Jazz Club for a year to woodshed the group concept and new compositions. In the studio, 1977's 'Reach Out!' displayed an astonishingly original collective, with all matching Galper's chance-taking, high-spirited, free-wheeling approach to music making. 1979's "Speak With a Single Voice" captured the energy of the quintet live, but on this 1977 Berlin Jazz Festival performance, the band shifts into an other-worldly overdrive. From the opening salvos of Galper's "Now Hear This," the mission is defined - jazz giants, in the prime of their youth, set free to blow, pushed to the limits by Galper's facility, full-bodied sound, and fertile imagination.

One of the frequently repeated ways to describe Riley is “What a special tone he has! Dark and dry with a lot of subtones. And very creative playing” (JJ – Sax on the web). It absolutely tells us how he sounds but another aspect of Riley’s uniqueness is in the way he treats his material (from the classic jazz standards and the Great American Songbook) in his – almost trademark – piano-less settings. Following the highly rated previous release SCCD 31882 Oleo by the two-horn quartet (sax and trumpet - Joe Magnarelli) Riley this time has invited the award-winning cornetist Kirk Knuffke to front the quartet. “… Riley and Magnarelli who, while tied to the bebop tradition, in this setting do not feel compelled to stick to it. Their fresh ideas and sly song quotes invigorate such tunes as “Doxy,” “St. Thomas,” “Ornithology,” and John Coltrane’s “Lazy Bird.” … Oleo is easily recommended .. ” (Scott Yanow – Los Angeles Jazz Scene on SCCD 31882) “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 Hold ‘Em Joe)